Lot Essay
In Christie's sale last Spring of An Important Collection of André Kertész Vintage Photographs it was noted that the still life Mondrian's Pipe and Glasses, Paris (April 17, 1997, Lot 181) was, like Chez Mondrian and Mondrian's Studio, a significant contribution to Kertész's notion of portraiture. By photographing an arrangement of intimate objects associated with the sitter, Kertész was, by extension, creating a portrait of the owner, suggesting his presence without actually having the sitter pose. It was an approach he developed during his years in Paris and would serve him for his entire career and for a number of subjects.
The print previously sold was a carte-postale, a novel photographic paper Kertész favored at the time, often mailing his images to his family and loved ones. Trimmed and mounted to vellum, it had originally been part of a presentation folio of 21 cartes. André Kertész exhibited for the first time in 1927 in Jean Slivinsky's Paris gallery Au Sacre du Printemps, one of several photographers Slivinsky was willing to exhibit (see: An Important Collection of André Kertész Vintage Photographs, lot 175). While Kertész did exhibit several cartes-postales mounted to vellum at Au Sacre du Printemps, the majority of works shown were enlargements made on a semi-gloss paper. The carte-postale prints are intimate and precious, but one might consider that for his first exhibition he would want to show larger images. Although it is unmounted, the print offered here relates to that printing.
Undoubtedly, the images Kertész executed as enlargements have survived in fewer numbers per image than the carte-postale versions. Whether he produced fewer larger prints because the paper was more expensive may be one reason. It is believed that fewer than five prints of this image in the size offered here from the period exist. When Mr. Glicker purchased this particular print, it was through Edwyn Houk who contacted the artist directly in the hopes of acquiring what might be the rarest version of this image, so central to Kertész's career.
In a letter dated November 12, 1982 Kertész wrote Edwynn Houk stating "In regard to the photograph you have sold to a Chicago collector, Mondrian's Pipe and Glasses, Paris, 1926; I would like to confirm that it is a vintage photograph, printed by me in Paris circa 1926. You have acquired it from my personal collection, and I am signing it today, 12 November 1982."
The print previously sold was a carte-postale, a novel photographic paper Kertész favored at the time, often mailing his images to his family and loved ones. Trimmed and mounted to vellum, it had originally been part of a presentation folio of 21 cartes. André Kertész exhibited for the first time in 1927 in Jean Slivinsky's Paris gallery Au Sacre du Printemps, one of several photographers Slivinsky was willing to exhibit (see: An Important Collection of André Kertész Vintage Photographs, lot 175). While Kertész did exhibit several cartes-postales mounted to vellum at Au Sacre du Printemps, the majority of works shown were enlargements made on a semi-gloss paper. The carte-postale prints are intimate and precious, but one might consider that for his first exhibition he would want to show larger images. Although it is unmounted, the print offered here relates to that printing.
Undoubtedly, the images Kertész executed as enlargements have survived in fewer numbers per image than the carte-postale versions. Whether he produced fewer larger prints because the paper was more expensive may be one reason. It is believed that fewer than five prints of this image in the size offered here from the period exist. When Mr. Glicker purchased this particular print, it was through Edwyn Houk who contacted the artist directly in the hopes of acquiring what might be the rarest version of this image, so central to Kertész's career.
In a letter dated November 12, 1982 Kertész wrote Edwynn Houk stating "In regard to the photograph you have sold to a Chicago collector, Mondrian's Pipe and Glasses, Paris, 1926; I would like to confirm that it is a vintage photograph, printed by me in Paris circa 1926. You have acquired it from my personal collection, and I am signing it today, 12 November 1982."