La cathédrale aux œufs

Man Ray (Emmanuel Radnitzky) :: La cathédrale aux œufs. Gravure et aquatinte originale sur papier Japon. Signée par l’artiste à la mine de plomb. Informations extraite de l’ouvrage “Electro-Magie”, Edition Georges Visat, Paris, 1969. | src Drouot digital

Featured

Lee Miller in a fishing net, ca. 1935

Man Ray :: Portrait de Lee Miller. Sans lieu ni date, vers 1935. Ravissant portrait de Lee Miller nue, allongée dans l’herbe, le corps recouvert d’un filet de pêche. | Lovely portrait of Lee Miller naked, lying in the grass, her body covered with a fishing net. Geneviève & Jean-Paul Kahn Library. La photographie a été reproduite dans le Dictionnaire abrégé du Surréalisme (Galerie des Beaux-Arts, 1938) dans la section La Femme surréaliste. | src La Gazette Drouot + Drouot Digital

Antonin Artaud et Cécile Brusson

Antonin Artaud en moine avec Cécile Brusson. Sans lieu ni date [Paris, Studio Forest, 1930].
Photographie originale avec annotations de la main d’Artaud au crayon au verso.
Fameuse photographie d’Antonin Artaud en moine, genou à terre, qu’une femme – Cécile Brusson – paraît vouloir contenir. | src La Gazette Drouot

Fremde Schönheit, ca. 1929

Hannah Höch :: Fremde Schönheit [Strange beauty], Berlin, ca. 1929, original photographic collage on coloured paper signed H.H. (The Geneviève & Jean-Paul Kahn Library). | src la gazette drouot

Sirenas del Aire, ca. 1935–36

Lola Álvarez-Bravo :: Sirenas del Aire, ca. 1935–36, printed ca. 1958. Álvarez-Bravo offers a pairing of the modern and the classical world using the surrealist approach of juxtaposing improbable objects. Two mermaids, their backs to the viewer, float on an empty picture. These mermaids (or sirens) have chosen a more modern vehicle to send their messages, a typewriter. | src Surrealism and Women Artists

Drawing photogram, 1920s

Rosa Rolanda :: Drawing Photogram, late1920s. Nude figure of a young woman covered by an inverted glass, which becomes her garment. The translucent glass allows the curves of her figure to be seen, but it still provides a modest covering. The shape of the glass is reminiscent of dress styles of the mid-1800s, with a wide hooped skirt and narrow waistline. Rosa Rolanda painted self-portraits from 1945 and 1952 depict the same somber persona. The simple style of her features is similar to those found on folkloric images of the sun reproduced in ceramics, wood, and textiles. Here, crowned by the sun, she is surrounded by shells, a deer, and a ruler. | src Surrealism and Women Artists