Brassaï by Marlborough Gallery

www.marlboroughnewyork.com

Published on the occasion of the exhibition Brassaï organized by Marlborough Gallery, New York December 1, 2020 – January 30, 2021 Copyright © 2020 by Anne Wilkes Tucker, ‘The Eye of Paris.’ Copyright © 2020 by Marlborough Gallery, New York. All rights reserved. Used with permission. Photographs by Brassaï copyright © 2020 Estate Brassaï – RMN-Grand Palais. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. First edition ISBN 978-0-89787-454-7

Autoportrait, HĂ´tel des Terrasses (Self-Portrait, HĂ´tel des Terrasses), c. 1932.

The Eye of Paris Gyula Halász (1899-1984) was born in Brassó, a prosperous regional center on the eastern edge of the Austrian-Hapsburg Empire. His father taught French and Hungarian in the local school, collected rare books, and wrote for Hungarian literary magazines and newspapers. When the man later known as Brassaï was 4, the family moved to Paris while his father studied at the Sorbonne. Impressions of that year as well as discussions about French history and culture with his father and brothers at home affected Brassaï’s life, writings, drawings, sculpture, and photography, but he emigrated twice before succumbing to Paris as his permanent home. In 1918-19, he studied in Budapest, then a major intellectual center. As a student, he boldly showed his drawings to Jánus Mattis-Teutsch, a member of the avant-garde group MA and he presented his play for a ballet to composer Béla Bartók. MattisTeutsch became a friend and mentor; Bartók promised without intent to review the ballet. These early actions reveal Brassaï’s ambition, self-confidence, and the same charm and wit that distinguished his father. His studies in Budapest were interrupted by rapid changes in political power from the collapse of the Austro-Hungarian Empire followed by a Communist Party revolt that was quickly defeated by a militant, conservative dictator who ruled until World War II. Brassaï returned briefly to Brassó and then moved to Berlin in December 1920. In that sojourn, Brassaï began his professional career as a journalist covering news and the arts for Hungarian language newspapers and literary magazines. Many other artists and intellectuals also fled Budapest, including the Hungarian

painter Lajos Tihanyi, who introduced Brassaï to László MoholyNagy (also a member of the MA group), Vassily Kandinsky and Oskar Kokoschka, with whom he later became friends and photographed in Paris in 1931. Thus, Brassaï began building networks that were critical to his ultimate career as an artist with a camera who was eventually declared to be “The Eye of Paris.” In 1924, Brassaï moved to Paris and for the next five years lived on an allowance from his family and what he could earn as a journalist, but he primarily focused on living la vie de noctambule (the life of a nightwalker). He walked from one district to another with established and new friends, including Henry Miller, often with no predetermined directions or intended discoveries. But given Brassaï’s retentive memory of all that he saw and heard, these years “of no purpose” were essentially research for his life’s work. Brassaï often hired photographers to illustrate his articles or he purchased existing photographs. His picture agency encouraged him to become a photographer as early as 1925, but he resisted until 1929. He had, however, assimilated technical information and aesthetic decisions watching, even directing, the hired photographers, some of whom had their own successful careers, including Maurice Tabard and Ergy Landau. In 1925, Brassaï met the Hungarian photographer André Kertész, who had just arrived in Paris. Initially, they worked together as photographer and writer, but once Brassaï began to photograph, their styles and sensibilities were too different to consider Kertész’s claims that Brassaï imitated Kertész’s nighttime studies of Paris. In the nineteen-twenties and thirties, every European metropolis was

photographed at night, but no one photographed a city at night with Brassaï’s peculiar blend of system and poetry. Between 1929 and 1935, Brassaï simultaneously created seven distinct and previsualized photographic series: Paris at night, Secret Paris, Paris by day, Nudes, Graffiti, Artists, and Picasso. Secret Paris and the Nudes series were complete by 1935; others extended into the nineteen forties and fifties. The man who had adamantly rejected photography for its mechanical rather than manual nature, suddenly embraced his new medium with extraordinary artistic originality. The first series to be published and exhibited was Paris de Nuit. He wanted what was distinct about Paris when shadows prevailed. He climbed towers and balconies, surveyed quiet parks through locked fences, and walked the Seine, the railroad tracks and the boulevards. Paris was shifting from gas to electrical lights, from horsepower to automobiles, and from the era of the Belle Époque to that of the Modern Age. In most of the images, few vehicles or pedestrians remained on the streets, except those who habituated the night: clochards sleeping in parks or under colonnades and workers who lit the still existing gas lamps and those who brought food to the Les Halles markets (see Le doyen de porters, Les Halles, Paris, catalogue no. 29). Brassaï was consciously gathering “types” for his survey: prostitutes and ladies in haute couture, operas and the Folies-Bergère. He calculated how to use or block light sources and to employ shadows and the ghostly doubles of river reflections. While his compositions are often complex, he avoided the modernist tropes of the Bauhaus, preferring instead the illusions of a waking dream.

The French edition of Paris de nuit was published in 1932, three years after he began to photograph; the London edition appeared in 1933. Photographic spreads were published worldwide, and the book was critically well reviewed in influential magazines and newspapers in Paris, London, Rotterdam, Budapest, Brassó, Chicago, and Tokyo. Galleries offered exhibitions in Paris and New York. The influence of his text and the photographs were immediate and lasting. Brassaï had intended for his series Plaisirs (Secret Paris as the series was known in the United States) to immediately follow his first book, but had to wait until 1976 with simultaneous editions in Paris, London, New York, Frankfurt, and Tokyo. Similar to making the images for Paris de nuit, he climbed towers and balconies and descended into subways. He knocked on a stranger’s door at midnight to make the photograph La fête foraine, place d’Italie (cat. no. 26) from their elevated window. But Secret Paris largely avoids Paris de nuit’s poetic vision. The series reveals confidential and disreputable, not public and historic Paris. He prefers the hard authenticity that he found in the demimonde’s world of love, sex, crime, and drugs as well as lesbian, gay, and transgender gatherings. He turns to friends for more knowledge of night-specific activities in certain neighborhoods. In the district of outcasts and tarts around the Bassin de la Villette, he and the poet Jacques Prevért “reveled in the ‘beauty of a sinister things.’” Other nights Brassaï risked working alone or hired a bodyguard. As an astute humanist as well as a chronicler of types, literature was his guide to patterns of human behavior, including the famous rakes of earlier centuries and the outcasts

of Stendhal and Dostoevsky. In Chez ‘Suzy’, la presentation (cat. no. 6), Brassaï joins a legacy of artists drawn to the mythological story “The Judgement of Paris,” a contest between the three most beautiful goddesses of Olympus. As none of the brothel’s clients wanted to be photographed, Brassaï’s bodyguard was delegated to substitute for clients who would be choosing between three of the bordello’s ladies. He also appears in numerous other pictures in the brothel series, including Armoire à glace… (cat. no. 8) and La toilette… (cat. no. 7). For Brassaï, this substitution did not diminish the photographs’ authenticity. He perceived himself as a picture maker. Images could be true without being rigorously factual. Whether photographing Picasso or a prostitute, Brassaï never exposed more than two or three negatives of a subject. Such quick decisions served him well in the crowded cafes and dancehalls as well as in dark alleys where lingering was unwise. The classic portraits in Secret Paris include a bold prostitute pausing in her game of Russian billiards in Montmartre (cat. no. 16) and the infamous “Bijou” who wore all her brooches, lavaliers, chokers, clips and chains at the Bar de la Lune (cat. no. 5). In his text, Brassaï notes her white clown make-up and “yet – behind her glittering eyes, still seductive … as if they had escaped the onslaughts of age, the ghost of a pretty girl seemed to smile out.” At Le Monocle in Montparnasse, Fat Claude’s possessive masculinity and his companion’s longing for other company avoids cliché with its poignancy (cat. no. 2).

In the 1940s and 1950s, Brassaï worked primarily for two magazines, Harper’s Bazaar in America and Verve in France. He also spent more time in southern France where he concentrated on a long list of projects he was determined to finish in his remaining years, publishing eight books between 1954 and 1982, including two on Picasso, two on Henry Miller, and one on The Artists of my Life. The poet and French scholar Richard Howard acknowledged, “If I were to name a single work of discursive prose identifying the qualities and character of the School of Paris between the wars, it is this book of Brassaï” because it was “charged with observation, with what Macbeth calls ‘understood relations’.” For Howard that “the artists are in their studios, usually in the process of making art and apparently undisturbed by the photographer’s presence” was valuable and rare. But if one looks at the totality of Brassaï’s images this capacity to observe acutely, but not disrupt, was part of his photographic genius. He didn’t want images of people consciously posed or captured offguard. His portrait of Jean Genet as well as of club patrons at their table conform to Brassaï’s avoidance of an animated face, preferring “the immobility of the face – of the person thrown back on his own inner solitude.” An example of this standard of thoughts turned inward is Brassaï’s often reproduced portrait of Picasso seated by the stove in his studio (cat. no. 34). That Conversations with Picasso (1964) was published in at least a dozen languages and multiple editions recognizes Brassaï’s skill as a chronicle of his subject and his era in words and pictures. ◼ Anne Wilkes Tucker, November 2020

List of Plates I.

Night, 1931-33

1. Au Monocle, Jeune invertie, c. 1932

p. 15

2. Au Monocle, un couple, c. 1932

p. 17

3. Kiki avec son accordéoniste, au Cabaret des fleurs, à Montparnasse, c. 1932

p. 19

4. Un couple au bal Magic-City, 1931-33

p. 21

5. ‘Bijou’ au bar de la Lune, Montmartre, 1932

p. 23

6. Chez ‘Suzy’, la presentation, c. 1932-33

p. 25

7. La toilette dans un hôtel de passe, rue Quincampoix, c. 1932

p. 27

8. Armoire à glace dans un hôtel de passe, rue Quincampoix, 1932

p. 29

9. Le bal des Invertis au Magic-City, rue Cognac, 1932

p. 31

10. Bal du Magic-City, couples, c. 1932

p. 33

11. L’élection du plus beau modèle, au bal de La Horde, c. 1932

p. 35

12. Couple au Bal Nègre, rue Blomet, c. 1932

p. 37

13. Le Bal des Quatre-Saisons, c. 1932

p. 39

14. Groupe joyeux au bal musette de Quatre-Saisons, 1932

p. 41

15. Au Monocle, le bar, à gauche: Lulu de Montparnasse, c. 1932-33

p. 43

16. Fille de joie jouant au billard russe, bouluevard Rochechouart, Monmartre, c. 1932

p. 45

17. Couple fâché au bal des Quatre-Saisons, rue de Lappe, Paris, c. 1932

p. 47

18. Nature morte, une fumerie d’opium, avenue Bosquet, le plateau avec les pipes…, c. 1931

p. 49

19. Fumeurs preperants les pipes, 1931

p. 51

20. Monsieur B. revêtu d’un kimono à brocart d’or, 1931

p. 53

21. La femme de l’homme gorille, dans sa danse de Loïe Fullerplace d’Italie, 1933

p. 55

22. Vue plongeante sur la scene des Folies-Bergère, 1932

p. 57

23. Fille de joie, quartier Italie, 1932

p. 59

24. Deux voyous de la bande du Grand Albert, quartier Italie, 1932

p. 61

25. Le parvis de Notre-Dame, 1932

p. 63

26. La fête foraine, place d’Italie, 1931

p. 65

II.

Day, 1931-37

27. Le doyen de clochards parisiens, boulevard SaintJacques, 1934

p. 69

28. Clochard dormant Ă Marseille, 1937

p. 71

29. Le doyen de porters, Les Halles, Paris, 1935

p. 73

30. Lâ&#x20AC;&#x2122;Academie Julian, rue de Dragon, 6e, Paris, c. 1931-32

p. 75

III. Artists, 1931-55 31. Le mur de l’atelier avec ses images, chez Bonnard, 1946

p. 79

32. Matisse dessinant un nu allongé à Paris, Villa d’Alésia, 1939

p. 81

33. Braque au poêle, derrière, Le Billard, rue de Douanier, 1946

p. 83

34. Picasso au poêle, rue des Grands Augustin, 6e, Paris, 1939

p. 85

35. Joan Miró à Barcelona, Barrio Chino, 1955

p. 87

36. Mon premier portrait de Dalí, c. 1932-33

p. 89

37. Dalí et Gala dans leur studio parisien, c. 1932-33

p. 91

38. Kokoschka dans son jardin, 1931

p. 93

39. Maillol finissant sa grande sculpture, La Montagne, 1936

p. 95

I. NIGHT 1931-33

1. Au Monocle, Jeune invertie (Woman Dressed as a Man at Le Monocle, Montparnasse) c. 1932 gelatin silver print on double weight paper image: 14 3/16 x 10 3/4 in. / 36.0 x 27.3 cm sheet: 15 1/8 x 11 5/8 in. / 38.4 x 29.5 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR; ‘Tirage de l’Auteur’ inscribed ‘Page 160’; ‘Pl. 432’; ‘PN1641/2’

2. Au Monocle, un couple (Fat Claude and her Girlfriend at Le Monocle) c. 1932 gelatin silver print on double weight paper image: 13 3/4 x 10 3/8 in. / 34.9 x 26.4 cm sheet: 15 7/8 x 11 7/8 in. / 40.3 x 30.2 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 1932 All Rights Reserved’; ‘Tirage de l’Auteur’ inscribed ‘Le couple d’ homosexuelles 1933’; ‘Pl. 437A’; ‘PN1228’

3. Kiki avec son accordéoniste, au Cabaret des fleurs, à Montparnasse (Kiki with her accordion player at the Cabaret des Fleurs, Rue de Montparnasse) c. 1932 gelatin silver print on double weight paper image: 10 1/8 x 8 1/4 in. / 25.7 x 21.0 cm sheet: 11 5/8 x 9 in. / 29.5 x 22.9 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 19 All Rights Reserved’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘Pl. 495’; ‘PN1069’

4. Un couple au bal Magic-City (A couple, Magic-City Ball) c. 1931-33 ferrotype gelatin silver print on single weight paper image: 11 1/2 x 8 5/8 in. / 29.2 x 21.9 cm sheet: 11 1/2 x 8 5/8 in. / 29.2 x 21.9 cm verso: signed stamped ‘BRASSAï 81, Rue du Faub.-St-Jacques PARIS-XIVe – PORt-Royal 23-41’; ‘ COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’; ‘Tirage de l’Auteur’ inscribed ‘136’; ‘Pl. 441’; ‘PN1089/1’

5. ‘Bijou’ au bar de la Lune, Montmartre (‘Bijou’, Bar de la Lune, Montmartre) 1932 gelatin silver print on double weight paper image: 13 1/2 x 10 1/4 in. / 34.3 x 26.0 cm sheet: 15 5/8 x 11 1/2 in. / 39.7 x 29.2 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 19 All Rights Reserved’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘”Bijou” vers. 1932 au bar de la Lune’; ‘Page 86’; ‘Pl. 384’; ‘PN1208/10’

6. Chez ‘Suzy’, la presentation (At Suzy’s, introductions) c. 1932-33 gelatin silver print on double weight paper image: 11 1/2 x 8 3/4 in. / 29.2 x 22.2 cm sheet: 12 x 9 in. / 30.5 x 22.9 cm recto: signed, lower right verso: stamped ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’ inscribed ‘7’; ‘Chez “Suzy”’; ‘Pl. 363’; ‘Tirage auteur’; ‘PN1058/2’

7. La toilette dans un hôtel de passe, rue Quincampoix (Washing up in a brothel, Rue Quincampoix) c. 1932 gelatin silver print on double weight paper image: 7 11/16 x 10 5/8 in. / 19.5 x 27.0 cm sheet: 9 1/8 x 11 3/4 in. / 23.2 x 29.8 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 19 All Rights Reserved’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘Pl. 355’; ‘page 107’; ‘PN1050’

8. Armoire à glace dans un hôtel de passe, rue Quincampoix (Mirrored wardrobe in a brothel, Rue Quincampoix) 1932 gelatin silver print on double weight paper image: 13 3/4 x 10 13/16 in. / 34.9 x 27.5 cm sheet: 16 x 12 in. / 40.6 x 30.5 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 19 All Rights Reserved’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘Armoire à glace…’; ‘p. 109’; ‘pl. 352’; ‘PN1052/4’

9. Le bal des Invertis au Magic-City, rue Cognac (Magic-City gay ball, Rue Cognac) 1932 ferrotype gelatin silver print on single weight paper image: 11 x 9 1/8 in. / 27.9 x 23.2 cm sheet: 11 x 9 1/8 in. / 27.9 x 23.2 cm verso: signed stamped ‘BRASSAï 81, Rue du Faub.-St-Jacques PARIS-XIVe – PORt-Royal 23-41’; ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’; ‘Tirage de l’Auteur’ inscribed ‘105’; ‘Pl. 442’; ‘PN1086/1’

10. Bal du Magic-City, couples (Couples at the Magic-City Ball) c. 1932 ferrotype gelatin silver print on single weight paper image: 11 x 9 1/8 in. / 27.9 x 23.2 cm sheet: 11 x 9 1/8 in. / 27.9 x 23.2 cm verso: signed stamped ‘BRASSAï 81, Rue du Faub.-St-Jacques PARIS-XIVe – PORt-Royal 23-41’; ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS XIVe Tél. 707.23.41’; ‘Tirage de l’Auteur’ inscribed ‘Bal du Magic-City, couples’

11. L’élection du plus beau modèle, au bal de La Horde (The election of the most beautiful model, Bal de La Horde) c. 1932 gelatin silver print on single weight paper image: 11 9/16 x 9 1/8 in. / 29.4 x 23.2 cm sheet: 11 9/16 x 9 1/8 in. / 29.4 x 23.2 cm verso: signed stamped ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’; ‘Tirage de l’Auteur’ inscribed ‘Pl. 748’; ‘PN1063’

12. Couple au Bal Nègre, rue Blomet (Couple at the Bal Nègre, Rue Blomet) c. 1932 gelatin silver print on double weight paper image: 10 1/8 x 8 in. / 25.7 x 20.3 cm sheet: 11 5/8 x 9 1/16 in. / 29.5 x 23 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 19 All Rights Reserved’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘Pl. 466’; ‘page 128’; ‘PN1065’

13. Le Bal des Quatre-Saisons (The Ball at Quatre-Saisons) c. 1932 ferrotype gelatin silver print on single weight paper image: 8 7/8 x 11 1/2 in. / 22.5 x 29.2 cm sheet: 8 7/8 x 11 1/2 in. / 22.5 x 29.2 cm verso: signed stamped ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS-XIVe Tél. 707.23.41’; ‘Tirage de l’Auteur’ inscribed ‘Le bal des Quatre-Saisons’; ‘Pl. 22’; ‘PN1033/1’

14. Groupe joyeux au bal musette de Quatre-Saisons (A happy group at the Quatre-Saisons) 1932 gelatin silver print on single weight paper image: 11 3/4 x 9 in. / 29.9 x 22.9 cm sheet: 11 3/4 x 9 in. / 29.9 x 22.9 cm verso: signed stamped ‘© COPYRIGHT BRASSAÏ TOUS DROITS RÉSERVÉS’ inscribed ‘”Groupe Joyeux dans un bal Musette”. Paris en 1932’; ‘printed by Brassaï’; ‘30cm x 23cm’; ‘P. 79’; ‘Pl. 10’; ‘PN1638/4’

15. Au Monocle, le bar, à gauche: Lulu de Montparnasse (Le Monocle, the bar. On the left is Lulu de Montparnasse.) c. 1932-33 gelatin silver print on double weight paper image: 10 1/8 x 8 1/16 in. / 25.7 x 20.5 cm sheet: 11 3/8 x 8 13/16 in. / 28.9 x 22.4 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 19 All Rights Reserved’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘Pl. 425’; ‘p. 163’; ‘PN1085’

16. Fille de joie jouant au billard russe, boulevard Rochechouart, Montmartre (A prostitute playing Russian billiards, Boulevard Rochechouart, Montmartre) c. 1932 gelatin silver print on double weight paper image: 14 1/4 x 10 3/4 in. / 36.2 x 27.3 cm sheet: 15 3/4 x 11 3/4 in. / 40.0 x 29.8 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ’; ‘Tirage de l’Auteur’ inscribed ‘La Fille au billard Russe vers 1932’; ‘1932 all rights reserved’; ‘pl. 401’; ‘p. 81’; ‘PN1204/16’

17. Couple fâché au bal des Quatre-Saisons, rue de Lappe, Paris (Lover’s Quarrel, Bal de Quatre-Saisons, rue de Lappe, Paris) c. 1932 gelatin silver print on double weight paper image: 11 3/4 x 9 1/4 in. / 29.9 x 23.5 cm sheet: 15 1/4 x 11 in. / 38.7 x 27.9 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 19 All Rights Reserved’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘Pl. 25D’; ‘p. 78’; ‘PN1639’

18. Nature morte, une fumerie d’opium, avenue Bosquet, le plateau avec les pipes… (Still life, an opium den, Avenue Bosquet. A tray with pipes, pins, oil lamp.) c. 1931 ferrotype gelatin silver print on single weight paper image: 11 3/8 x 8 1/2 in. / 28.9 x 21.6 cm sheet: 11 3/8 x 8 1/2 in. / 28.9 x 21.6 cm verso: signed stamped ‘© copyright by BRASSAÏ 81, Faubourg St-Jacques PARIS-XIVe Tél. 707-23-41’; ‘BRASSAÏ 81, Rue du Faub.-St-Jacques PARIS-XIVe – PORt-Royal 23-41’; ‘Tirage de l’Auteur’ inscribed ‘Nature Morte – Dans une fumerie d’opium’; ‘N-119’; ‘874’; ‘Pl. 422’; ‘PN1094/2’

19. Fumeurs preperants les pipes (Smokers preparing their pipes) 1931 gelatin silver print on single weight paper image: 9 1/8 x 11 3/4 in. / 23.2 x 29.9 cm sheet: 9 1/8 x 11 3/4 in. / 23.2 x 29.9 cm verso: signed stamped ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’; ‘Tirage de l’Auteur’ inscribed ‘Pl. 422A’; ‘PN1095/1’

20. Monsieur B. revêtu d’un kimono à brocart d’or (Mr. B in a kimono with gold brocade) 1931 gelatin silver print on single weight paper image: 9 x 11 1/2 in. / 22.9 x 29.2 cm sheet: 9 x 11 1/2 in. / 22.9 x 29.2 cm verso: signed stamped ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’; ‘Tirage de l’Auteur’ inscribed ‘No. 182’; ‘p. 183’; ‘PN1633/1’

21. La femme de l’homme gorille, dans sa danse de Loïe Fuller, place d’Italie (The woman of ‘The Gorilla Man’, a dance by Loïe Fuller, Place d’Italie) 1933 ferrotype gelatin silver print on single weight paper image: 9 1/8 x 11 3/4 in. / 23.2 x 29.9 cm sheet: 9 1/8 x 11 3/4 in. / 23.2 x 29.9 cm verso: signed stamped ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’; ‘Tirage de l’Auteur’ inscribed ‘Pl. 837’; ‘PN1005/1’

22. Vue plongeante sur la scène des Folies-Bergère (Plunging view onstage at the Folies-Bergère) 1932 gelatin silver print on single weight paper image: 11 1/2 x 9 1/4 in. / 29.2 x 23.5 cm sheet: 11 1/2 x 9 1/4 in. / 29.2 x 23.5 cm verso: signed stamped ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’; ‘PHOTOGRAPHIE ORIGINALE’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘Folies-Bergère vue plongeante sur la scene 1932 Brassaï’; ‘Pl. 707’; ‘p. 748’; ‘PN1077/2’

23. Fille de joie, quartier Italie (Streetwalker near the Place d’Italie) 1932 gelatin silver print on single weight paper image: 15 3/8 x 11 1/8 in. / 39.1 x 28.3 cm sheet: 15 3/8 x 11 1/8 in. / 39.1 x 28.3 cm verso: signed stamped ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’; ‘Tirage de l’Auteur’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘PHOTOGRAPHIE ORIGINALE’ inscribed ‘Fille de joie quartier Italie’; ‘Pl. 333’; ‘p. 92’

24. Deux voyous de la bande du Grand Albert, quartier Italie (Members of the Big Albert gang, Place d’Italie) 1932 gelatin silver print on double weight paper image: 10 1/8 x 7 7/8 in. / 25.7 x 20.0 cm sheet: 11 3/4 x 9 1/8 in. / 29.8 x 23.2 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 19 All Rights Reserved’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘Pl. 172’; ‘p. 56’

25. Le parvis de Notre-Dame (The square at Notre-Dame) 1932 ferrotype gelatin silver print on single weight paper image: 9 1/8 x 6 5/8 in. / 23.2 x 16.8 cm sheet: 9 1/8 x 6 5/8 in. / 23.2 x 16.8 cm verso: signed stamped ‘BRASSAÏ 81, RUE DU FAUBrg St JACQUES PARIS XIVe TÉLÉPH. […] PORT-ROYAL 23-41’; ‘Tirage de l’Auteur’; ‘BRASSAÏ 81, RUE DU FAUBg St JACQUES PARIS-XIVe PORT-ROYAL 23-41’ inscribed ‘Parvis de Notre Dame’; ‘Le PARViS de Notre-Dame 1932’; ‘PN3506’; ‘19’; ‘N. 19’

26. La fête foraine, place d’Italie (The Fun Fair, Place d’Italie) 1931 ferrotype gelatin silver print on single weight paper image: 10 x 8 1/2 in. / 25.4 x 21.6 cm sheet: 10 x 8 1/2 in. / 25.4 x 21.6 cm verso: signed stamped ‘BRASSAï 81, Rue du Faub.-St-Jacques PARIS-XIVe – PORt-Royal 23-41’; ‘© COPYRIGHT by BRASSAÏ 81, Faubourg St. Jacques PARIS 14eme Tél. 707.23.41’; ‘Tirage de l’Auteur’ inscribed ‘9’; ‘pp. 804’; ‘PN1001’

II. DAY 1931-37

27. Le doyen de clochards parisiens, boulevard Saint-Jacques (The Dean of Parisian vagabonds, Boulevard Saint-Jacques) 1934 ferrotype gelatin silver print on single weight paper image: 11 3/4 x 9 1/8 in. / 29.9 x 23.2 cm sheet: 11 3/4 x 9 1/8 in. / 29.9 x 23.2 cm verso: signed stamped ‘Copyright © by BRASSAÏ 1934 All Rights Reserved’; ‘Tirage de l’Auteur’ inscribed ‘Le Doyen des clochards Parisiens…’; ‘P. 38’; ‘Pl. 520’; ‘PN 1013/1’

28. Clochard dormant à Marseille (Sleeping vagabond in Marseille) 1937 gelatin silver print on double weight paper image: 14 3/4 x 10 1/8 in. / 37.5 x 25.7 cm sheet: 16 x 12 in. / 40.6 x 30.5 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 1937 All Rights Reserved’; ‘Tirage de l’Auteur’ inscribed ‘Mi. 7.E.’; ‘”Clochard dormant a Marseille” 1937’; ‘PN2656/1’

29. Le doyen de porters, Les Halles, Paris (The Dean of the Porters, Les Halles Market, Paris) 1935 ferrotype gelatin silver print on single weight paper image: 11 3/8 x 8 3/8 in. / 28.9 x 21.3 cm sheet: 11 3/8 x 8 3/8 in. / 28.9 x 21.3 cm verso: stamped ‘BRASSAï 81, Rue du Faub.-St-Jacques PARIS-XIVe – PORt-Royal 23-41’; ‘Tirage de l’Auteur’; ‘Ó copyright by BRASSAÏ 81, Faubourg St-Jacques PARIS-XIVe Tél. 707-23-41 inscribed ‘N 373’; ‘PN1636’

30. L’Academie Julian, rue du Dragon, 6e, Paris (Academy Julian, Rue du Dragon, Paris) c. 1931-32 gelatin silver print on double weight paper image: 14 1/2 x 10 3/4 in. / 36.8 x 27.3 cm sheet: 15 1/4 x 11 1/2 in. / 38.7 x 29.2 cm recto: signed, lower right verso: stamped ‘© COPYRIGHT BRASSAÏ’; ‘Tirage de l’Auteur’ inscribed ‘L’Academie Julian, rue du Dragon, 6e, Paris, vers 1931’; ‘No. 96’; ‘A. 185’; ‘PN1550/6

III. ARTISTS 1931-55

31. Le mur de l’atelier avec ses images, chez Bonnard (A wall in Bonnard’s house with his favorite images) 1946 gelatin silver print on double weight paper image: 10 7/8 x 7 5/8 in. / 27.6 x 19.4 cm sheet: 12 x 9 in. / 30.5 x 22.9 cm recto: signed, lower right verso: signed stamped ‘Tirage de l’Auteur’; ‘© COPYRIGHT BRASSAÏ’ inscribed ‘Le mur de l’atelier avec ses images chez P. Bonnard au Cannet A. Mms’; ‘A 352’; ‘Cat. 4.’; ‘PN1458/1’

32. Matisse dessinant un nu allongé à Paris, Villa d’Alésia (Matisse drawing a reclining model, Villa d’Alésia, Paris) 1939 gelatin silver print on double weight paper image: 10 1/4 x 14 3/4 in. / 26.0 x 37.5 cm sheet: 12 x 16 in. / 30.5 x 40.6 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ 1939 All Rights Reserved’; ‘Tirage de l’Auteur’ inscribed ‘Matisse dessinant un nu allongé à Paris. Villa d’Alésia 14e’; ‘A. 287’; ‘No. Catal. 56’; ‘PN1509/6’

33. Braque au poêle, derrière, Le Billard, rue de Douanier (Braque by his stove, his painting Le Billard behind, Rue de Douanier) 1946 gelatin silver print on double weight paper image: 13 7/8 x 10 1/2 in. / 35.2 x 26.7 cm sheet: 15 1/2 x 11 5/8 in. / 39.4 x 29.5 cm recto: signed, lower right verso: stamped ‘Tirage de l’Auteur’; ‘© COPYRIGHT BRASSAÏ’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’ inscribed ‘Braque au poêle, Derrière, Le Billard (painting), Mars 1946’; ‘A. 394’; ‘Cat. no. 7’; ‘PN1460’

34. Picasso au poêle, rue des Grands Augustin, 6e, Paris (Picasso by his stove, Rue des Grands Augustins, Paris) 1939 gelatin silver print on double weight paper image: 14 3/4 x 11 in. / 37.5 x 27.9 cm sheet: 16 x 12 in. / 40.6 x 30.5 cm recto: signed, lower right verso: stamped ‘Tirage de l’Auteur’; ‘© COPYRIGHT BRASSAÏ’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’ inscribed ‘Picasso au poêle, rue des Grands Augustins, 6e, 1939, Paris’; ‘Cat. 78’; ‘PN1531/2’

35. Joan Miró à Barcelona, Barrio Chino (In a bar at the Barrio Chino, Miró drinks a glass of sherry) 1955 gelatin silver print on double weight paper image: 10 3/4 x 8 1/8 in. / 27.3 x 20.6 cm sheet: 11 3/4 x 9 1/4 in. / 29.8 x 23.5 cm recto: signed, lower right verso: stamped ‘Tirage de l’Auteur’; ‘Copyright © by BRASSAÏ 1955 All Rights Reserved’ inscribed ‘Joan Miró à Barcelona, Barrio Chino’; ‘Cat. No. 69’; ‘ET. 3259’; ‘PN1522’

36. Mon premier portrait de Dalí (My first portrait of Dalí) c. 1932-33 ferrotype gelatin silver print on single weight paper image: 14 3/4 x 11 in. / 37.5 x 27.9 cm sheet: 14 3/4 x 11 in. / 37.5 x 27.9 cm verso: signed stamped ‘© BRASSAÏ TOUS DROITS RÉSERVÉS’ inscribed ‘Salvador Dalí à Paris vers. 1932-1933’; ‘”Mon premier portrait de Dalí”’; ‘No. 11’; ’37.5 x 28 cm’; ‘Printed by Brassaï’; ‘PN1464/5’

37. Dalí et Gala dans leur studio parisien (Dalí and Gala in their Paris studio) c. 1932-33 gelatin silver print on double weight paper image: 10 5/8 x 14 1/2 in. / 27.0 x 36.8 cm sheet: 11 3/4 x 15 1/2 in. / 29.8 x 39.4 cm recto: signed, lower right verso: stamped ‘Copyright © by BRASSAÏ’; ‘INTERDICTION DE REPRODUIRE SANS AUTORISATION DE L’AUTEUR’; ‘Tirage de l’Auteur’ inscribed ‘DALI et GALA DANS LEUR STUDIO PARISIEN 14e c. 1932-33’; ‘Catalogue No. 12’; ‘A 449’; ‘PN1465/3’

38. Kokoschka dans son jardin (Kokoschka in his garden) 1931 gelatin silver print on double weight paper image: 10 x 14 1/2 in. / 25.4 x 36.8 cm sheet: 11 1/2 x 15 5/8 in. / 29.2 x 39.7 cm recto: signed, lower right verso: stamped ‘Tirage de l’Auteur’; ‘Copyright © by BRASSAÏ 1931 All Rights Reserved’ inscribed ‘Kokoschka dans son jardin vers 1931-32’; ‘No. 9’; ‘Cat. 32’; ‘PN1485/1’

39. Maillol finissant sa grande sculpture, La Montagne (Maillol finishing his large sculpture, La Montagne) 1936 gelatin silver print on double weight paper image: 13 3/4 x 9 3/4 in. / 34.9 x 24.8 cm sheet: 15 3/4 x 11 3/4 in. / 40.0 x 29.8 cm recto: signed, lower right verso: stamped ‘Tirage de l’Auteur’; ‘Copyright © by BRASSAÏ 1936 All Rights Reserved’ inscribed ‘Maillol finissant sa grande sculpture: La Montagne’; ‘Cat. 49’; ‘A.43’; ‘PN1502/2’

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BRASSAÏ

Selected Museums and Public Collections Art Gallery of South Australia, Adelaide, Australia Art Institute of Chicago, Chicago, Illinois Bibliothèque Nationale de France, Paris, France Blanton Museum of Art, University of Texas at Austin, Austin, Texas Cincinnati Art Museum, Cincinnati, Ohio Cleveland Museum of Art, Cleveland, Ohio Dallas Museum of Art, Dallas, Texas Fine Arts Museum of San Francisco, San Francisco, California Gilman Paper Company Collection, New York, New York Harvard University Art Museums, Cambridge, Massachusetts Indianapolis Museum of Art, Indianapolis, Indiana International Center of Photography, New York, New York J. Paul Getty Museum, Los Angeles, California Los Angeles County Museum of Art, Los Angeles, California Menil Collection, Houston, Texas Metropolitan Museum of Art, New York, New York Musée Carnavalet, Paris, France Museum Folkwang, Essen, Germany Museum of Fine Arts, Houston, Texas Museum of Modern Art, New York, New York Museum voor Fotografie, Antwerp, Belgium National Gallery of Art, Washington, District of Columbia Philadelphia Museum of Art, Philadelphia, Pennsylvania Princeton University Art Museum, Princeton, New Jersey Reina Sofía National Museum, Madrid, Spanish Réunion des Musées Nationaux, Paris, France Rijksmuseum, Amsterdam, Netherlands San Francisco Museum of Modern Art, San Francisco, California Smithsonian Institution, Washington, District of Columbia Tate Gallery, London, England Victoria and Albert Museum, London, England Ydessa Hendeles Art Foundation, Toronto, Ontario Yokohama Museum of Art, Yokohama, Japan

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Anne Wilkes Tucker is the curator emerita of the Museum of Fine Arts, Houston, having, in 1976, become the founding curator of the photography department for which she acquired 30,000 photographs made on all seven continents. She curated or co-curated over 40 exhibitions, most with accompanying catalogues, including surveys on the Czech Avant-garde, the history of Japanese photography, and the history of war photography. She has also contributed articles to over 150 magazines, books and other catalogues. Her numerous honors, fellowships, and awards include being selected as “American’s Best Curator” by Time Magazine in 2001 in an issue devoted to America’s Best. She has been a trustee of FotoFest since 1990 and the Philip and Edith Leonian Foundation since 2016 and served as a trustee of Randolph College between 2008-2018.

Design: Sydney Smith Photography: Matt Grubb Editor: Nicole Sisti Research: Lukas Hall Edition of 1000 Printed in Hong Kong by Permanent Press ISBN 978-0-89797-454-7

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9 780897 974547

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