Tabard, Maurice. Drei Original-Photographien (Porträts), 2 rückseitig in Bleistift mit "Solarisation" bezeichnet. Silbergelatine. Abzüge um 1970. 30,5 x 24 cm. Verso mit Namensstempel und Bleistiftnummern. - Gut erhalten.
MAURICE TABARD (1897-1984) Portrait of George Pomiès. Circa 1929. Silver print, the image measuring 9⅛x6⅞ inches (23.2x17.5 cm.), the sheet slightly larger, with Tabard's credit and numeric notation "85.030" in pencil on verso.
MAURICE TABARD (1897–1984) Self-Portrait, 1930 signed and dated in pencil (mount, recto); stamped photographer's credit in ink (mount, verso) image/sheet: 9 ½ x 7 in. (24.1 x 17.7 cm.) mount: 16 5⁄8 x 12 5⁄8 in. (42.2 x 32 cm.)
MAURICE TABARD (Lione 1897-Nizza 1984). Gelatin silver print "NU A L'ECHELLE, 1929". Artist's stamp on the back. 28x20 cm on 30x24 cm paper. MAURICE TABARD (Lione 1897-Nizza 1984). Stampa alla gelatina ai sali d'argento "NU A L'ECHELLE, 1929". Timbro dell'artista sul retro. 28x20 cm su carta 30x24 cm.
(French, 1897-1984) Montparnasse Gare, 1930, signed in ink lower right recto "Tabard", artist's stamp verso "Maurice Tabard photo Paris", also stamped "30 13", gelatin silver print, sight 6-3/4 x 8-3/4 in.; black wood frame, 12-3/4 x 14-3/4 in. Provenance: Jackson Fine Art Atlanta (label verso. Lot accompanied by copy of original sales receipt); An Important Atlanta Collection
(French, 1897-1984) New York dans ma barque (superimpression), 1948, artist stamp verso, double exposure photograph printed by Pierre Gassmann (stamped verso), silver gelatin print on matte paper, image 14-3/4 x 10-1/4 in.; silver finished wood frame, 23-1/2 x 18-3/4 in. Provenance: Jackson Fine Art Atlanta (label verso); An Important Atlanta Collection
Maurice Tabard (1897-1984) Maurice Tabard (1897-1984) SOLARISED NUDE, c.1930. Solarised silver gelatin print, image/sheet size 237 x 178mm, with the photographer's stamp verso.
Tabard u.a, Maurice Sammlung von 59 OPhotographien (Vintages, Silbergelatineabzüge, zahlr. Kontaktabzüge, versch. Formate von ca. 6 x 5,5 bis 40,5 x 30,5 cm), 15 eh. Blättern mit Tagebucheinträgen u. Notizen. Um 1928-1984. Maurice Tabard (1897-1984) war seit 1922 zunächst Portraitphotograph in Baltimore, wurde 1928 Modephotograph in Paris, wo er die Surrealisten Man Ray und René Magritte kennenlernte, und zählt heute zu den führendsten Photographen der surrealistischen Bewegung. - Vorliegende Photos zeigen: Kontaktabzüge (enstanden während einer Tätigkeit als Standphotograph für Gaumont) von ethnographischen Aufnahmen einer Mission von Pierre Decharme in Afrika (Gao, Aguelhok/Mali), Algerien (Reggane, Adrar, Touggourt) (1942), London (solarisiert, 1949), Portraits (davon 1 spätes von Georges Tourdjman Tabard mit Pierre Gassmann zeigend, 1 verso mit eh. Widmung der Photojournalistin Caroline Valenta (The Houston Post)), 1 Selbstportrait, Ausstellungsräume. - 1 Photo verso mit Tabards Stempel. - Tls. knitterig u. mit kl. Läsuren. - Die Tagebucheinträge (Aug.-Nov. 1928) mit kurzen Einträgen zu aufgesuchten Orten u. verrichteten Arbeiten u.a., die Notizen bzgl. Bichromatlösungen u. Gummibichromatverfahren. - Dabei: Ausstellungskarte 1933, 2 Namensschilder New York u. Milwaukee Convention der Photographers Association of America, tls. mont. Zeitungs- u. Zeitschriftenausschnitte, illustr. Faltprospekt der Galerie Zabriskie 1979. - George Besson. La Photographie Francaise. Paris, Les èditions Braun & Cie, 1936. Kl.-8°. Ill. OKt. Collection of 59 orig. photographs (vintages, silver gelatin prints, numerous contact prints), 15 autograph sheets with diary entries and notes. - Maurice Tabard (1897-1984) was first a portrait photographer in Baltimore from 1922, became a fashion photographer in Paris in 1928, where he met the Surrealists Man Ray and René Magritte, and is today one of the leading photographers of the Surrealist movement. - The photos show: Contact prints (made while working as a still photographer for Gaumont) of ethnographic photographs of a mission by Pierre Decharme in Africa and Algeria (1942), London (solarised, 1949) portraits (1 of them by Georges Tourdjman showing Tabard with Pierre Gassmann, 1 verso with autograph dedication of photojournalist Caroline Valenta (The Houston Post)), 1 self-portrait, exhibition rooms. - 1 photo with Tabard's stamp on verso. - Partly creased and with small tears. - The diary sheets (Aug.-Nov. 1928) with short entries on places visited and work done, the notes concerning (gum) bichromate processes. - In add.: exhibition card 1933, 2 name plates New York and Milwaukee Convention of the Photographers Association of America, partly mounted newspaper and magazine cuttings, illustrated folding brochure of the Zabriskie Gallery 1979. - George Besson. As listed above. * Dieses Werk ist regelbesteuert. Auf den Zuschlagspreis fallen 22,95% Aufgeld sowie auf den Rechnungsendbetrag 7% bzw. 19% Mehrwertsteuer in der Europäischen Union an. This work is subject to the regular margin scheme. There is a 22.95% buyer's premium on the hammer price and 7% or 19% VAT on the final invoice amount in the European Union."
Gelatin silver print, printed 1940s/1950s from solarized negative cm 23,1 x 16 | 9 x 6.2 in. Signed and dated in pencil on the image LITERATURE W. Guadagnini (edited by), La fotografia della collezione Trevisan. Con gli occhi, con il cuore, con la testa, Silvana Editoriale, Milan, 2012, p. 213
MAURICE TABARD (Lione, 1897 - Nizza, 1984). Stampa alla gelatina ai sali d'argento "NU A L'ECHELLE, 1929". Timbro dell'artista sul retro. 28x20 cm su carta 30x24 cm. MAURICE TABARD (Lione, 1897 - Nizza, 1984). Gelatin-silver print "NU A L'ECHELLE, 1929". Artist's stamp on the back. 28x20cm on paper 30x24cm.
MAURICE TABARD (1897-1984) Studio de Richard Avedon (Mode pour Balmain), c. 1950 cachet de copyright du photographe (verso) image/feuille : 22,2 x 24,8 cm. (8 3/4 x 9 3/4 in.)
Maurice TABARD (1897-1984) Untitled Solarisation & surimpression. Vintage gelatin silver print on mat paper. Vintage gelatin silver print on mat paper. H_21 cm W_17 cm Provenance : private collection, directly acquired from Pierre Gassman Private collection Paris, aquired directly from Pierre Gassmann Untitled Solarisation & surimpression. Épreuve gélatino argentique d'époque sur papier mat. Vintage gelatin silver print on mat paper. H_21 cm L_17 cm Provenance : collection privée, directement acquis auprès de Pierre Gassman Private collection Paris, aquired directly from Pierre Gassmann
Maurice TABARD (1897-1984) Untitled Solarisation. Vintage gelatin silver print. Vintage gelatin silver print. H_20 cm W_18 cm Provenance: private collection, acquired directly from Pierre Gassman Private collection Paris, aquired directly from Pierre Gassmann Untitled Solarisation. Épreuve gélatino argentique d'époque. Vintage gelatin silver print. H_20 cm L_18 cm Provenance : collection privée, directement acquis auprès de Pierre Gassman Private collection Paris, aquired directly from Pierre Gassmann
Maurice TABARD (1897-1984) Photogram, circa 1929 Later print. Gelatin silver print on mat paper. Stamps verso of the photographer and the printer, Pierre Gassmann. Printed later. Gelatin silver print on mat paper. Stamps verso of the photographer and the printer, Pierre Gassmann. H_37 cm W_24 cm Photogramme, circa 1929 Tirage postérieur. Épreuve argentique sur papier mat. Tampons du photographe et du tireur Pierre Gassmann au verso. Printed later. Gelatin silver print on mat paper. Stamps verso of the photographer and the printer, Pierre Gassmann. H_37 cm L_24 cm
Maurice TABARD (1897-1984) Composition aux guitares, 1929 Solarisation, double overprint. Vintage gelatin silver print. Signed in black ink 'tabard 29' and stamped with annotations on the reverse. Vintage gelatin silver print. Signed 'tabard 29" in black ink. Stamped with annotations on the reverse. H_23,8 cm W_17,8 cm Provenance: private collection, acquired directly from Pierre Gassman Private collection Paris, aquired directly from Pierre Gassmann Composition aux guitares, 1929 Solarisation, double surimpression. Épreuve gélatino-argentique d'époque. Signée à l'encre noire ‘tabard 29' et tampon avec annotations au dos. Vintage gelatin silver print. Signed ‘tabard 29” in black ink. Stamped with annotations on the reverse. H_23,8 cm L_17,8 cm Provenance : collection privée, directement acquis auprès de Pierre Gassman Private collection Paris, aquired directly from Pierre Gassmann
Maurice TABARD (1897-1984) Untilted , 1929 Photogram. Signed and dated tabard 29 in pencil, recto. Stamped on the reverse with annotation in pencil. Photogram. Signed and dated tabard 29 in pencil, recto. Stamped on the reverse with annotation in pencil. H_23,8 cm L_17,8 cm Provenance: private collection, acquired directly from Pierre Gassman Private collection Paris, aquired directly from Pierre Gassmann Maurice Tabard Maurice Tabard was born in Lyon on July 12, 1897 to an amateur photographer father and a musician mother. He was destined to play the violin, but failed at the Conservatoire and naturally became a silk designer in a Lyon factory. In 1914, his father took him with him on a business trip to the United States. He enrolled him at the New York Institute of Photography and Tabard, doing odd jobs to survive, set up his first photographic studio. In 1922, after the death of his father, he presented a few portraits to a major New York photographer, who hired him, and he thus became a portraitist for a wealthy clientele. During his stay in Washington, he did the portrait of President Calvin Coolidge at the White House. In 1928, he returned to France and became a fashion photographer for various magazines, including Le Jardin des Modes and Vu, whose director Philippe Soupault introduced him to. Around the same time, he obtained commissions for advertising and met Alexey Brodovitch. Tabard frequented the avant-garde of Montparnasse and set up his studio in Boulogne-Billancourt, a city that was then in the midst of a cultural boom. The Billancourt studios (cinema) had just been set up there, and Chagall, Landowski and Le Corbusier, among others, lived or worked there; it was the city of the patron Albert Kahn, who sent filmmakers and photographers on missions around the world. The artist then created in complete freedom, freeing himself from his rather classical style until then, and setting out to define his own purely photographic language. His main concern was the composition of the image. From that moment on, Tabard focused on the study of the components of a photograph: the objects, their forms, their materials, their lighting, their formal relationships rather than their appearance. It is a work of composition, as in painting. It was at this time that he met Magritte, to whom he later paid tribute in several of his images. "The object of his research is the space of the image, not the outside world, [...] he is [...] in the irrevocable (...)." When he discovered solarization... he deepens his knowledge of the technique which Man Ray does not want to reveal. Tabard wrote an article on the subject for Art et Métiers graphiques in 1933. This will be the cause of an irreducible quarrel between the two men, Man Ray not supporting that his invention (!) is thus explained to everyone. This is the opposite of Tabard whose research, both formal and technical, will be the subject of numerous courses and conferences, especially in the United States, in the following years. Tabard practiced drawing and studied painters and their works, Velasquez in particular, with whom he refined his understanding of the rules of composition. He takes numerous notes that will be used to enrich his courses and conferences, and that he will gather and organize years later in a draft treatise Geometry is the foundation of the arts, which remains unpublished to this day. In 1933 takes place his first personal exhibition, in Paris. He became friends with Brassaï, Kertesz and Man Ray, for whom he had great admiration. He practised solarisation (the Sabattier effect, discovered in 1862), which at that time was somewhat Man Ray's trademark (he often claimed to have invented it). In 1934, he was a photographer, alternating with Roger Parry, on the set of Jean Vigo's L'Atalante. In 1938, his photos were shown at the Museum of Modern Art in New York during the exhibition "Photography 1839-1937". In 1939-1940, he directed the photo studios of the magazine MarieClaire, which was withdrawn to Lyon, a non-occupied zone. In 1942, he was a set photographer for Gaumont, and accompanied the Decharme ethnographic mission to Africa. He made documentary films and numerous photos in Algeria, Niger and the French Sudan (now Mali). In 1944, he joined the army's film department and remained there until the end of the war, reporting in particular on Alsace. In 1946, he was called back to the United States where he taught photography while making frequent trips to Paris where he continued his personal research and made fashion reports. In 1951, he returned to France, but made many trips to the United States to give lectures on photographic composition. He was especially active in the United States where Alexey Brodovitch and Carmel Snow asked him to join the prestigious team of p Untilted , 1929 Photogramme. Signé et daté tabard 29 au crayon, recto. Cachet au verso avec annotation au crayon. Photogram. Signed and dated tabard 29 in pencil, recto. Stamped on the reverse with annotation in pencil. H_23,8 cm L_17,8 cm Provenance : collection privée, directement acquis auprès de Pierre Gassman Private collection Paris, aquired directly from Pierre Gassmann Maurice Tabard Maurice Tabard est né à Lyon le 12 juillet 1897 d'un père photographe amateur et d'une mère musicienne. Il se destine au violon, mais échoue au Conservatoire et devient naturellement dessinateur sur soie dans une fabrique lyonnaise. En 1914, son père l'emmène avec lui lors d'un voyage d'affaires aux États-Unis. Il l'inscrit au New York Institute of Photography et Tabard, faisant des petits boulots pour survivre, s'installe un premier studio de photographe. En 1922, après le décès de son père, il présente quelques portraits à un grand photographe new yorkais, qui l'engage, et il devient ainsi portraitiste pour une riche clientèle. Lors de son passage à Washington, il fera le portrait de président Calvin Coolidge à la Maison Blanche. En 1928, il rentre en France et devient photographe de mode pour différentes revues dont Le Jardin des Modes et Vu dont Philippe Soupault lui a présenté le directeur. Vers la même date, il obtient des commandes pour de la publicité, et fait la connaissance de Alexey Brodovitch. Tabard fréquente les avant-gardes de Montparnasse et installe son studio à Boulogne-Billancourt, ville alors en pleine effervescence culturelle. Les studios de Billancourt (cinéma) viennent d'y être installés, Chagall, Landowski et Le Corbusier, entre autres, y vivent où y travaillent ; c'est la ville du mécène Albert Kahn qui envoie cinéastes et photographes en mission à travers le monde. L'artiste y crée alors en toute liberté, se dégageant de son style assez classique jusqu'alors, et s'attachant à définir son langage purement photographique. Son grand souci est la composition de l'image. Dès ce moment, Tabard s'attache à l'étude des composantes d'une photographie : les objets, leurs formes, leurs matières, leurs éclairages, leurs rapports formels plutôt que leur apparence. C'est un travail de composition, comme en peinture. C'est à cette époque qu'il rencontre Magritte à qui il rendra hommage dans plusieurs de ses images par la suite. « L'objet de sa recherche est l'espace de l'image, non le monde extérieur, [...] il est [...] dans l'irrévélé (...). » Lorsqu'il découvre la solarisation ... il approfondit sa connaissance de la technique dont Man Ray ne veut rien dévoiler. Tabard écrit un article sur le sujet pour Art et Métiers graphiques en 1933. Ce sera la cause d'une brouille irréductible entre les deux hommes, Man Ray ne supportant pas que son invention (!) soit ainsi expliquée à tout un chacun. C'est là l'opposé de Tabard dont les recherches, aussi bien formelles que techniques, feront l'objet de nombreux cours et conférences, surtout aux États-Unis, dans les années suivantes. Tabard pratique le dessin et étudie les peintres et leurs oeuvres, Velasquez notamment, auprès de qui il affine sa compréhension des règles de la composition. Il prend de nombreuses notes qui serviront à enrichir ses cours et conférences, et qu'il réunira et ordonnera des années plus tard en un projet de traité La géométrie est la fondation des arts qui reste inédit à ce jour. En 1933 a lieu sa première exposition personnelle, à Paris. Il s'est lié d'amitié avec Brassaï, Kertesz et Man Ray pour qui il a une grande admiration. Il pratique la solarisation (effet Sabattier, découvert en 1862) qui est à cette époque un peu le marque de fabrique de Man Ray (lequel prétend souvent l'avoir inventée). En 1934, il est photographe, alternativement avec Roger Parry, sur le plateau de tournage de L'Atalante de Jean Vigo. En 1938, ses photos sont montrées au Musée d'Art moderne de New York lors de l'exposition « Photography 1839-1937 ». En 1939-1940, il dirige les studios photo de la revue MarieClaire, repliée à Lyon, zone non-occupée. En 1942, il est photographe de plateau pour Gaumont, il accompagne la mission ethnographique Decharme en Afrique et réalise des films documentaires et de nombreuses photos en Algérie, au Niger et au Soudan français (actuel Mali). En 1944, il s'engage au service cinéma des armées et y restera jusqu'à la fin de la Guerre, il effectue notamment des reportages en Alsace. En 1946, il est rappelé aux États-Unis où il enseigne la photographie tout en faisant de fréquents voyages à Paris où il poursuit sa recherche personnelle et fait des reportages de mode. En 1951, il revient en France, mais fait de nombreux voyages aux États-Unis pour donner des conférences sur la composition en photographie. Il est surtout actif aux ÉtatsUnis où Alexey Brodovitch et Carmel Snow lui demandent de rejoindre la prestigieuse équipe de p
MAURICE TABARD (1897–1984) Montparnasse Gare, 1930 gelatin silver print stamped photographer's credit and number '30-13,' titled and dated in pencil (verso) image: 6 1/2 x 8 7/8 in. (16.5x 22.5 cm.) …
MAURICE TABARD (1897-1984) Masque Punu (essai pour le film Culte Vaudou), 1936-1937 cachet du photographe (verso) image/feuille : 28.2 x 11.9 cm. (11 1/8 x 4 5/8 in.)
MAURICE TABARD (1897-1984) Sans titre (main bleue, tissu violet), 1963 signé et daté à l'encre (image); cachet du photographe, titré et annoté au crayon (verso) image : 22.9 x 16.6 cm. (9 x 6 ½ in.) feuille : 23.8 x 17.5 cm. (9 3/8 x 6 7/8 in.)
MAURICE TABARD (1897–1984) Portrait of Georges Pomies, c. 1929 credited and numbered '85.030' in pencil (verso) image/sheet: 9 5/8 x 8 in. (24.4 x 20.2 cm.)
MAURICE TABARD (1897-1984) Electric Hair, c. 1930 Gelatin silver print, printed c. 1930, credit stamp on the verso, accompanied by its original gelatin silver contact sheet, inscribed 'Sens figure 645' and itemized consecutively 'A-N' in ink on the recto; credit in pencil on the verso. print 30.5 x 24cm (12 x 9 1/2in) For further information on this lot please visit the Bonhams website
Surrealistic figure; Woman with mirror (negative print). 1929/printed circa 1975. 2 gelatin silver prints. Each circa 30,5 x 24 cm. Each with photographer's stamp and Tirage Original réalisé par Pierre Gassmann stamp on the verso. - - Tabard combined these images in a double exposure (a variant of the second image was used) which was published on the cover of Jazz L'actualité intellectuelle February 15,1929. – First print with one stronger handling crease near right edge, second print with a few retouched spots, some small spots in margins, otherwise in very good condition. - - Sollten Sie detailliertere Zustandsberichte wünschen, kontaktieren Sie uns bitte. / Should you need more detailed condition reports, please contact us.
The first print flush-mounted to original card, signed and dated in pencil on the mount lower right as well as photographer's stamp on the reverse of the mount. The second print numbered 'CV 31' in an unknown hand in pencil on the verso.
Trees. 1930s/printed circa 1975. 2 gelatin silver prints. Each circa 31 x 23 cm. 1 with photographer's stamp and Tirage Original réalisé par Pierre Gassmann stamp on the verso. One with light crease in upper right corner, otherwise in very good condition. - Sollten Sie detailliertere Zustandsberichte wünschen, kontaktieren Sie uns bitte. / Should you need more detailed condition reports, please contact us.
Maurice Tabard (1897-1984) France Untitled, Composition with Guitar 1932/1933 Silver gelatin print ed. 49/50 Signed & dated upper right Signed & dated lower left, under matt Inscribed verso: SG.1987.978 21 x 16 cm LITERATURE: Tabard was one of the leading photographers of the Surrealist movement, which he entered under the influence of his friend, American photographer Man Ray. In 1928, Tabard returned to Paris becoming a fashion photographer. It was here he met Surrealist writer, Philippe Soupault, who in turn acquainted him with various prominent magazine editors including Lucien Vogel, Giron & Alexey Brodovitch. He went on to work for a number of publications, such as Bifur, Vu & Le Jardin des Modes. He made the acquaintance of Surrealists Man Ray & René Magritte, with his work beginning to reflect the influence of Surrealism. In the late 1920s, he met Roger Parry, whom he taught photography & André Kertész. In 1951 Francis Quirk curated an exhibit of his work at Lehigh University along with photographs by Ansel Adams
Maurice Tabard "Nature Morte“ Vintage. Gelatin silver print Laid down on original cardboard (18,8 x 24,2 cm), thereupon signed and dated in pencil lower left. On the reverse of the cardboard photographer's stamp: "PHOTO, Maurice TABARD, PARIS" and numerical stamp: "31-15" as well as dated and titled by Maurice Tabard in green ink. Numbered in pencil by further hands 6 3/4 × 9 in.
MAURICE TABARD (1897–1984) Portrait of Georges Pomies, c. 1929 gelatin silver print credited and numbered '85.030' in pencil (verso) image/sheet: 9 5/8 x 8 in. (24.4 x 20.2 cm.)
MAURICE TABARD 1897-1984 Abstraction with Guitar 1932 gelatin silver print signed and dated '.M.. TABARD . 32' upper right 22 x 16.8 cm PROVENANCE Private Collection Photographs, Sotheby's, New York, 23 April 1994, lot 315, illustrated Private Collection, Switzerland Private Collection, Sydney, by descent from the above
The dancer George Pomiès, Paris 1929 Vintage silver print 23 x 15 cm Photographer's studio stamp on the reverse, annotated in an unidentified hand in ink on the reverse The buyers premium for all items exported out of E.C. (European Community) is 25%. For items marked with *, sold and/or shipped within the E.C. the premium is 25% plus 20% VAT on hammer price and premium. For all other items (without *) sold and/or shipped within the E.C. (European Community) the premium is 30% (including VAT).
Maurice TABARD (1897-1984) Portrait de femme en buste, 1946 Tirage argentique d''époque contrecollé sur carton Signé et daté au crayon sous l''image sur le montage à gauche h: 22,90 w: 17,20 cm
"Mode de Paris (1950)" by Maurice Tabard, 1986 Unsigned Offset Lithograph. Paper size is 31.5 x 23.5 inches, with an image size of 22.5 x 18.5 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details:
TABARD MAURICE (1897-1984) * La Plage PHOTOGRAPHIE ORIGINALE. Circa 1930. 34,5 x 27 cm, sous encadrement. Superbe photomontage de facture surréaliste. Tirage argentique d'époque représentant une femme dont on ne distingue que le visage près d'un étrange massif de bois flotté. Tampon au verso: «Photo Maurice Tabard. Paris». Maurice Tabard, photographe français proche des surréalistes dont Philippe Soupault, René Magritte et Man Ray, consacra son oeuvre à la recherche de la composition de l'image. The Beach ORIGINAL PHOTOGRAPH. Circa 1930. 34,5x27cm (13,5 x 10,6 inches), framed. Superb photomontage of surrealistic influence. Vintage silver print representing a woman's face, near a piece of driftwood.
Maurice Tabard (1897-1984) Sans titre (femme avec le Gros Poisson Vagues de Lalique, 1922), circa 1928 Tirage argentique d''époque Porte le cachet de l''artiste au dos 23, 5 x 18 cm
