Lot 43
  • 43

José Maria Sert

Estimate
7,000 - 9,000 EUR
bidding is closed

Description

  • José Maria Sert
  • Etude pour 'Vers la Gloire', La Défense de l'Alcazar, 1940 - 1942
  • Photograph
Tirage argentique unique d'époque. Esquissé au crayon au verso.

Provenance

Atelier de l'artiste
Collection particulière française

Literature

José Maria Sert: Le Titan à l'oeuvre, cat. expo., Paris, Petit Palais - Musée des Beaux-Arts de la Ville de Paris/Paris-Musées, 2012, ill. p. 130, pl. 82 (variante);
L' art de la fresque de José Maria Sert (1874-1945): photographies inédites, Paris, Jacques Damase, 1990, ill. p. 29 (variante);
José Maria Sert: études photographiques, cat. expo., Paris, Galerie Michèle Chomette, 1988, ill. s.p. (variante);
Jose Maria Sert: 1874-1945, cat. expo., Madrid, Palacio de Velázquez, 1987, ill. p. 230 (variante).

Condition

This silver print is in very good condition. The corners and edges are slightly worn. With four pinholes near the corners due to the enlargement process. With a few very light handling fold visible in raking light only.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Décor pour la chapelle de l'Alcazar de Tolède, Espagne. Projet non réalisé.
Les photographies de Sert sont souvent plus saisissantes que ses peintures, a fortiori si elles sont l’unique trace d’un projet non réalisé comme ici. La mise en action de ces santons est dynamisée par la prise de vue oblique de la scène, en suspension dans l’espace.  Cette puissance propre à la photographie noir et blanc n’a pas son équivalent dans les esquisses à l'huile.