Product Description
Andre Kertesz, Paris, Silver gelatin print 1927
ANDRÈ KÈRTESZ (1894-1985) Hungary
Paris 1927
Silver gelatin print
Signed: Paris 1927, A.Kertesz, Page 150 (in pencil on back); ANDRÈ KÈRTESZ (stamped on back).
Framed size: H: 16 5/8” x W: 17 13/16”
Throughout most of his career, Kertész was depicted as the “unknown soldier” who worked behind the scenes of photography, yet was rarely cited for his work, even into his death in the 1980s. His work itself is often described as predominantly utilizing light and even Kertész himself said that “I write with light”. He was never considered to “comment” on his subjects, but rather capture them – this is often cited as why his work is often overlooked; he stuck to no political agenda and offered no deeper thought to his photographs other than the simplicity of life. With his art’s intimate feeling and nostalgic tone, Kertész’s images alluded to a sense of timelessness that was inevitably only recognized after his death. Unlike other photographers, Kertész’s work gave an insight into his life, showing a chronological order of where he spent his time; for example, many of his French photographs were from cafés where he spent the majority of his time waiting for artistic inspiration. Although Kertész rarely received bad reviews, it was the lack of them that lead to the photographer feeling distant from recognition. Now however, he is often considered to be the father of photojournalism. Even other photographs cite Kertész and his photographs as being inspirational; Henri Cartier-Bresson once said of him in the early 1930s, “We all owe him a great deal”.
Andre Kertesz, Paris, Silver gelatin print 1927
MITZI OTTEN-FRIEDMANN (1884-1955) Austria
WIENER WERKSTÄTTE (1903-1932)
Brooch c. 1915
Reverse-painted glass depicting a couple set in a silver frame / back
Marks: M. OTTEN-FRIEDMANN on the front (right), the reverse stamped: WW, Vienna assay mark for 900 silver
D: 2 3/8”
Rosalia Marie Friedmann-Otten (“Mitzi”) * November 28, 1884 Vienna, † May 5, 1955 New York, NY
Student at the School of Applied Arts in Vienna (with Oskar Strnad), Friedmann-Otten participated in numerous exhibitions (including art shows in 1908, 1920; Neukunstgruppe 1909; German Women’s Art in 1925; Werkbundausstellung 1930). Member of the Austrian Werkbund, the Wiener Werkstätte and the Neukunstgruppe. One of the most versatile artists (commercial art, metalwork, jewelry, fashion, starting from 1920 mainly enamel works, including large-scale email pictures), Friedmann-Otten had to flee in 1938 to the United States.