Page 122 - Swann Galleries - Fine Photographs - Sale 2304 - February 26, 2013

111 ● BRASSAÏ (1899-1984)
A portfolio titled “Transmutations,” complete with 12 “cliché verre” photographs produced from
1934-1935.Toned silver prints, 91/2x7 inches (24.1x17.8 cm.), and the reverse, each mounted within
a paper presentation folder with the title and sequential number printed on the cover. Folio, black
clamshell case with a gilt-lettered title; with Brassaï’s signature and edition notation 24, in ink, on
the colophon; includes a printed English translation of the French text. ONE OF 100 NUMBERED
COPIES AND 10 HORS COMMERCE COPIES NUMBERED I-X. 1967 [8,000/12,000]
From a Private Collection, NewYork.
I. Femme-Fruit. II. Sévillane Dénudeé. III. Odalisque. IV. Femme-Mandoline. V. Femme-Amphore.
VI. Fille de Joie se Déshabillant.VII.Visage Minéral.VIII.Tentation de Saint Antoine. IX. Jeune Fille
Rêvant. X. Offrande. XI. Femme aux Voiles. XII. Fête Foraine.
Beginning in 1932, Brassaï systematically photographed Picasso’s sculptural works. Over the years, their
relationship developed into extensive dialogue about the relationship of photography and sculpture.
Brassaï writes, “From the photographic image to the engravings, realism was outweighed by oneirism.
The photograph is now and then volatilized. At times some debris has survived: a piece of quivering
breast, a foreshortened face, a leg, an arm. Enshrined in graphism this debris gives to our obsessions, to
our dreams the flash of the instant, the breath of reality . . . As Picasso said to me one day: ‘It is
impossible for photography to succeed in satisfying you entirely.’”