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MAN RAY PHOTOGRAPHS FOR COLLIERS BY ELSA TRIOLET 'Il fallait trouver du travail. Du travail, comme on sait, il n'y en a pas. Et quand on en cherche, les mots "pas de travail" prennent tous leur sens. Pour les amateurs de "belle vie", porter une valise de colliers est un travail dont on n'a pas à se vanter. On dit qu'être mineur, forgeron, pêcheur est plus romantique. Tout ce que je sais, c'est que notre travail était dur. Et romantique.' -- Elsa Triolet1 This Rayograph and the following four photographs by Man Ray (lots 73-75) are the actual vintage prints used to illustrate Elsa Triolet's book Colliers, which was written in Russian in 1932-33, intended for publication in Leningrad (St. Petersburg) but was only published decades later in French in the 42-volume work Oeuvres romanesques croisées d'Elsa Triolet et Aragon (1964-74). Colliers appears in volume 40, published in 1973, and includes five photographs taken by Man Ray (lots 73-75). The 'Rue Campagne Première' stamps on the two mounted prints (lots 73 & 75) include Man Ray's Paris telephone number 'Littré 76-57'. In Behind the Photo: The Stamps of Man Ray, Man Ray Research Scholar Steven Manford explains: '...only the Littré number is represented among the stamps. The Littré stamps (M4 & M7) were in use approximately between the years of 1929 and 1930.'2 At the time of the events described in Colliers, Triolet, Louis Aragon, whom she met in 1928, and Man Ray were all living on rue Campagne Première: 'Je m'installais à l'hôtel Istria, rue Campagne-Première....A l'Istria habitaient Marcel Duchamp, Jeanne Léger (la première femme de Fernand), Man Ray, Picabia, la belle Kiki y amenait son nez pointu....'3 At the core of Colliers is the celebrated love story between Aragon and Triolet. In the face of poverty, Triolet worked 20 hours a day making necklaces for the Haute Couture, and Aragon -- one of the founding figures of Surrealism -- was reduced to the role of a door-to-door salesman. Carrying a valise filled with Triolet's necklaces, Aragon spent his days approaching noted couture houses such as Schiaparelli and Poiret while scribbling down poetry in between visits.

MAN RAY (1890-1976)

Rayograph (Necklace and bracelet in white horsehair by Elsa Triolet), before 1932-33

细节

MAN RAY (1890-1976)
Rayograph (Necklace and bracelet in white horsehair by Elsa Triolet), before 1932-33
unique gelatin silver print
signed in pencil on mount; 'MAN RAY/31bis, RUE/CAMPAGNE/PREMIÈRE/PARIS/Littré 76-57' credit stamp [Manford M4], annotated 'collier de Mme Elsa Triolet' in ink, 'Aragon/5 Campagne Premiere' in pencil and printing notation '228 m/m' in blue pencil on reverse of mount
print: 11 3/8 x 9in. (28.8 x 22.8cm.)
mount: 12¾ x 9¾in. (32.3 x 24.9cm.)

来源

According to the publisher Robert Laffont, the department which oversaw the serialised publication (1964-74) of this 42-volume work had since closed and records of the publication are no longer available. In the first volume, Triolet writes that she corrected the layout proofs of the intended Russian publication of Colliers and that the 'clichés' were ready. This statement combined with the dates of the Man Ray works (before 1932-33) strongly suggest that Man Ray had made these five photographs for Triolet's never-realised Russian publication. It is most likely that the Man Ray photographs remained in Triolet's possession for the next 30 years until her death in 1970, just three years prior to the 1973 French publication of Colliers in volume 40. The post-1973 sequence of ownership of these prints prior to their acquisition by the present owner is unrecorded.

出版

This print is reproduced in Triolet, 'Colliers', Oeuvres romanesques croisées d'Elsa Triolet et Aragon, Vol. 40, Jaspard, Polus & Cie/Robert Laffont, 1973, p.100 (fig.1). It is not recorded in de l'Ecotais, Man Ray: Rayographies, Editions Léo Scheer, 2002.

注意事项

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍场告示

This work will be included in the forthcoming Catalogue Raissoné of the Rayographs being prepared by Man Ray Research Scholar Steven Manford.

拍品专文

'J'ai inventé des colliers presque impondérables, en crin blanc, dont on a écrit, quand ils furent exposés au "Salon des Artistes Modernes", que c'étaient "des colliers de neige et de rêve.' -- Elsa Triolet4

This Rayograph depicts Triolet's innovative necklace and bracelet made of white horsehair. In typical Man Ray fashion, what appears at first glance to be an effortless composition -- a necklace and bracelet placed directly on photographic paper -- reveals his ingenuity: the negative silhouetteing, inherent in the photogram, not only emphasizes the whiteness but also defines the fine strands of the white horsehair. In this Rayograph, Man Ray captures the essence of Triolet's creation -- its colour, texture and movement.

1 'Colliers', Oeuvres romanesques croisées d'Elsa Triolet et Aragon, Vol.40, Jaspard, Polus & Cie/Robert Laffont, 1973, p.93.

2 Carnet de Rhinocéros Jr, 2006, p.11.

3 Oeuvres romanesques croisées d'Elsa Triolet et Aragon, Vol.1, Jaspard, Polus & Cie/Robert Laffont, 1964, pp.16-17.

4 'Colliers', p.101.