WEEKLY TRANSMISSION N°01 THURSDAY 5 th...

WEEKLY TRANSMISSION N°01 THURSDAY 5th JANUARY 2017

LOOKING AT “ORGANIC” VINTAGE PHOTOGRAPHS : A VISUAL TRAINING

N°3, detail

contents:

The past is constructed from the present (Edgar Morin) II

Looking at Vintage Photographs, a visual exercise at Drouot Art School III7SQ — Seven Short Queries IV7SQ — Sept Simples Questions IVSeven Vintage Photographs to look at 1-7Seven Versos with pieces of evidence V1-V7

WWW.PLANTUREUX.FR

“The past is constructed from the present, which selects what in its eyes is historical, that is to sayprecisely what has developed in the past to produce the present.” (Edgar Morin)

“Le passé est construit à partir du présent, qui sélectionne ce qui, à ses yeux, est historique, c'est-à-dire précisément ce qui, dans le passé, s'est développé pour produire le présent”. (Edgar Morin)

The e-bulletin presents articles as well as selections of books, albums, photographsand documents as they have been handed down to the actual owners

by their creators and by amateurs from past generations.

The physical descriptions, attributions, origins, and printing datesof the books and photographs have been carefully ascertained by collations

and through close analysis of comparable works.

When items are for sale, the prices are in Euros, and Paypal is accepted.

N°01-2017 : SEVEN SHORT QUERIES FOR SEVEN PICTURES

N°1, detail

Weekly Transmission 01 III Thursday 5th January 2017 .

Looking at organic vintage photographs, a visual exercise

Next week will resume the vintage photographs analysis training cycle at Drouot Art School*,this transmission is dedicated to the students and follow the workshop programm :

A group of vintage photographs — documentary, artistic or historical — are proposed to lookat, with a reduced system of questions to answer within minutes, mainly : Where and Whenwas it created ? Which traces, signature or stamps can we consider for a further investigation?Then together we discuss possible answers and we try to identify the artist or the author andhis intentions, Who did What and Why ?. In a third step, aftergathering enough elements orpieces of evidence, we will discuss the scientific and commercial values, the actual marketvalue, the estimation.

* Drouot Formation, 12 rue Drouot, Paris, traineeship in the Drouot auction house and specific photographyworkshop at 80 rue Taitbout. “Art History applied to the Art Market establish an innovative teaching skillsthat is a particularity of Drouot Formation. Centered in the eye traineeship, the pedagogical project of thistraining aims to develop practical skills among the students such as research tools, the capacity to identify,authenticate works of art, their enhancement or else their estimation within the context of a negotiation”.

7SQ - Seven Short Queries

7SQ follow the famous “Five Ws” (Who did What, Where and When, and Why ?), and the“Five Ws and one H”, which are often mentioned in journalism, research, and policeinvestigations. A standard series of questions has been a way of formulating or analyzingrhetorical questions since classical antiquity*. The "Five Ws and one H” were memorializedby Rudyard Kipling in his poem accompanying the tale of "The Elephant's Child":

“I keep six honest serving-men (They taught me all I knew); Their names are What and Why and When and How and Where and Who.”

The Seven Short Queries when looking at vintage photographs are :

— Who could be the author ?

— What could be a title ?

— Where was it created ?

— When was it printed ?

— Which process was used ?

— How large ? (dimensions usually given in mm, height before length)

— Why ? Can we investigate his intentions ? (stamps, signatures, captions, traces)

Then, if we can answer the 7SQ, an estimation or a price as a result :

— How Much could it worth ?

Proposed answers to the seven short queries for the seven prints will be found, under thereproduction of the versos, after pages 1-7, pages V-1 to V-7.

* Hermagoras of Temnos defined seven "circumstances", μόρια περιστάσεως 'elements of circumstance'as the loci of an issue: Quis, quid, quando, ubi, cur, quem ad modum, quibus adminiculis (Who, what,when, where, why, in what way, by what means), as quoted in pseudo-Augustine's De Rhetorica.

7SQ - Sept Simples Questions

La semaine prochaine reprendra le cycle de formation sur l'analyse des photographiesanciennes à l'école d'art Drouot *, cette transmission est dédiée aux étudiants et suit leprogramme des travaux dirigés.

Cette méthode de description est directement inspirée d’un concept fort ancien* notammentutilisé en journalisme. En anglais, cette méthode est abrégée en Five W's, «who did what,where and when, and why» c'est-à-dire : «qui a fait quoi, où, quand et pourquoi ?». Les FiveW's ou "règles fondamentales du reportage" sont particulièrement utilisés en agence depresse, qui exige que les réponses aux cinq questions soient données dès le début de ladépêche, ce qui permet un découpage de l'information par priorité. cette méthode obligel’analyste à faire un choix.

Les sept simples questions face à une épreuve photographique historique ou ancienne sont

— Qui pourrait en être l’auteur ? (identification ou école)

— Quel titre pourrait être attribué ? (Le titre original, s’il est connu, en italique et en VO)

— Où la photographie a-t-elle été conçue ?

— Quand l’épreuve a-t-elle été tirée ?

— Comment a-t-elle été développée ? (procédé photographique)

— Dans quelles dimensions ? (généralement en mm, hauteur avant largeur)

— Pourquoi, dans quelle intention ? (tampons, signatures, inscriptions, traces, indices)

Si l’on peut achever le raisonnement et répondre, alors on peut essayer de résumer :

— Combien vaut-elle ?

Des éléments de réponses à ces sept simples questions se trouvent sous la reproduction duverso de chaque épreuve après les pages 1-7, pages V-1 à V-7.

*En latin : «Quis, Quid, Ubi, Quibus auxiliis, Cur, Quomodo, Quando» qui sont les 7 questions quidéfinissent les « circonstances » d'une situation («circum-stare», se tenir autour). On cite comme originepossible les «circonstances» définies par le rhéteur grec Hermagoras de Temnos et transmises par saintAugustin : Quis, quid, quando, ubi, cur, quem ad modum, quibus adminiculis.

Weekly Transmission 01 1 Thursday 5th January 2017 .

Who did What ? Where and When ?Which process ? How large ? Why ? How Much ?













Weekly Transmission 01 V-1 Thursday 5th January 2017 .

Pierre Emonds (1831-1912). Cave de l’hôtel Carnavalet, Paris, 1884Albumen print, 275x225 mm, title and date, pencil, verso. 800 euros

Pierre Edmonds — after Marvill and before Atget — was the official photographer of Ville deParis. His work is extremly rare outside the public collection and his negatives are going tobe published soon by BHVP.

Edmonds photographed any detail and any room of the Renaissance Hotel Carnavalet fromthe attic to the basment in 1884. The print in BHVP collection bear the title : “Salle dessarcophages”.


GEORGE GRANTHAM BAIN (1865-1944). “House Where Bomb Was Made”. The Abarno-Carbone Anarchist plot to blow up St. Pattrick, New York, March 1915.Vintage silver print, 117x100 mm, Bains caption in negative recto and stamp, verso, datestamp “March 02 1915”. 120 euros

“Detectives working with the New York Department of Combustibles were on the case, and,in March of 1915, they managed to thwart a second attack on St. Patrick’s with the help of ayoung detective named Emilio Polignani.” (The Bowery Boys: New York City History).


ELWIN NEAME (1886-1923). The Lady Aviator(Ivy Close Celebrating WWI Victory)Wimbledon, London, circa 1919Vintage silver print, 288x240 mm, photographer’s copyright stamp, printing mentions frommagazine “The Tatler”. 500 euros

“Elwin Neame was one of the leading [cinema] photographers of his generation. He ran ElwinNeame Ltd. in Wimbledon with his brother William. He married the popular actress Ivy Closein 1910, who bore him two sons, Ronald Neame and Derek Neame. Elwin directed four films(scripting two of them). He died in 1923, aged 38, when his motorcycle collided with anillegally parked car. He suffered a broken neck.” (Imdb)


Photoreporter N.Y.T. Scuba Set, Archive Photograph Evoking Crew Members of HMS Thetissuccessfully escaping the Sunken Submarine. Liverpool Bay, June 1939Vintage silver print, 180x130 mm, New York Times Agency stamp, Le Petit Parisien publicationstamp, dated 03 June 1939, mimeographed caption verso: “Le sous-marin Britannique Thétisdu modèle le plus récent a coulé au large de Liverpool, ayant 86 hommes à son bord. Grâceà leurs appareils spéciaux 4 hommes et deux officiers sont déjà remontés. Photo d’archivesreprésentant un marin muni de l’appareil de sauvetage” 60 euros

Unfortunately, “in the case of HMS Thetis, only 4 members of the ship’s company successfullyused the escape chamber. During the 5th attempt to escape the occupant of the chamberpanicked and tried to open the outer escape hatch before the chamber had completelyflooded. As a result, the increased pressure outside the submarine caused an in-rush of seawater, thus drowning the escapee. Because the outer escape hatch remained partially open itrendered the escape chamber inoperative, preventing the escape of any other crew members.”


Luciano De Feo (1894–1974). Benito Mussolini poses for the American Artist Jo Davidson. Palazzo Chigi, Roma, 1926.Vintage silver print on heavy paper, 170x230 mm, Istituto Nazionale Luce Agency stamp,caption in pencil, verso. 200 euros

Luciano de Feo created LUCE (L'Unione Cinematografica Educativa) which became in 1925the official service of photography propaganda and Mussolini, and in 1927 the officialCinematographic expression of the Fascist Government. American artist Jo Davidson (1883-1952) wanted to do Mussolini’s head since 1923 and gothis wish in 1926, with the help of Lincoln Steffens (Cf. William L. Vence, America's Rome:Catholic and contemporary Rome, page 334.


French Riviera Paparazzo. The Artist Winston Churchill, with a fresh bottle of ChampagnePlage de la Garoupe, Cap d’Antibes, Côte d’Azur, 1949Vintage silver print, 130x180 mm, “René Dazy” Agency stamp, caption verso. 150 euros

“Churchill was forty before he discovered the pleasures of painting. The compositionalchallenge of depicting a landscape gave the heroic rebel in him temporary repose ... Churchillfavoured a pseudonym (Mr. Winter) in 1947 when offering works to the Royal Academy, sohis fame in other spheres was not exploited. Two pictures were accepted and eventually thetitle of Honorary Academician Extraordinary was conferred on him. He earned it. That is borneout by the conclusion of the renowned painter Sir Oswald Birley: "If Churchill had given thetime to art that he has given to politics, he would have been by all odds the world's greatestpainter." Connoisseurs of Sir Winston's art stoutly defend their individual preference ... Hewas fond of citing Ruskin's Elements of Drawing and readily accepted Sir William Orpen'ssuggestion that he should visit Avignon, where the light can verge on a miracle. He recalledan encounter on the Côte d'Azur with artists who worshipped at the throne of Cezanne andgratefully acknowledged the inspiration he derived from their exchange. ” (Churchill Museum)


Hector Garcia (1923-2012). Louis Malle directing “Viva Maria!” with a pistol Texcoco, Mexico, 1965.Vintage silver print, 203x258 mm, Photographer’s stamp, date stamp from magazine “CineMundial” : “April 20, 1965”, title and mention verso. 150 euros

"Time called it a "jaunty but slipshod farce" ... Malle's idea was to take a buddy movie andsubvert it. For inspiration, he instructed Carrière to consider the Gary Cooper — Burt Lancasterrelationship in Vera Cruz (1954), a favorite Western of the two. By replacing the traditionalmale protagonists with two strong females, Viva Maria! worked as an amusing gender twiston a popular formula and was seen in some quarters as a political statement. Fassbinder latertold him that Viva Maria! fascinated him and his fellow students at Berlin University. Mallerecalled — It was a time of those radical student movements, and they saw in the heroinesthe two different approaches to revolution.” (Wikipedia).

Serge Plantureux - PhotographiesCabine d'expertises et d'investigations

80 rue Taitbout, rez-de-chaussée (Entrée du square d'Orléans)75009 Paris + 33 140 16 80 80 www.plantureux.fr

Number One, Third Year, of the Weekly Transmission has been uploaded on Thursday 05th January 2017 at 15:15 (Paris time)

Forthcoming uploads and transmissions on Thursdays : Thursday 12th January 2017, Thursday 19th January 2017, 15:15 (Paris time)

The “cabinet” is open every Thursday 3-7 pmevery other day by appointment

all transmissions are on :

www.plantureux.fr

Date post:	08-Jun-2018
Category:	Documents
Upload:	tranliem
View:	216 times
Download:	0 times

WEEKLY TRANSMISSION N°01 THURSDAY 5 th...

Documents