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Welcome to the new auction by Anatole Desachy (France) and Ecki Heuser (Germany) gathering Avantgarde Photobooks from the XXth century published all around the world. We hope the diversity and the high quality of this new auction will satisfy every collector’s desire.

SCARCE, BEAUTIFUL EARLY PUBLICATION from 1935 (!) about Marseille by (Luise) Germaine Krull (1897-1985), a German-dutch photographer, who lived in Paris since 1926.

VINTAGE PHOTOBOOK FROM 1935 (not to mix with the same title much later, 2013).

The book about Marseille appears in the same series and with the same layout, which was probably inspired by Kertész, from the graphically ambitious publishing house that had released André Kertész's Paris Vu a year earlier. It features a balanced, almost constructivist page layout, double pages, and a black-blue intaglio printing process with text that is homogeneously fitted to the pages.

Germaine Krull's magical photos represent the Parisian avantgarde. In the 1920s, Germaine Krull made her mark on the history of photography with her photo reports. Using oblique perspectives and cropped images, she developed her own unique visual language. She developed her very own visual language. Her reportages symbolise socio-political empathy.

The term avant-garde is used when an artist takes an innovative and experimental approach to one aspect of their art. The avant-garde in photography takes a critical stance towards existing aesthetic views.
It is important to understand that avant-garde refers to an artistic movement that challenges existing aesthetic norms and seeks new forms of expression.

This is a lot by 5Uhr30.com, Cologne, Germany.
We guarantee detailed and accurate descriptions, 100% transport protection, 100% transport insurance and of course combined shipping - worldwide.

Editions D'Historie Et D'Arts - Libraire Plon. 1935. First edition, first printing.

Paperback. 225 x 295 mm. 48 pages. Photos: Germaine Krull. Foreword: André Suarès. Text in French,

Condition:
Inside fresh and clean with no marks and with no foxing; the sensitive publication with normal trace of use, no remarkable defects. Outside with trace of use, but better and fresher than usual; spine like so often restored and with small missing parts (see pictures). Overall very good condition.

Beautiful, scarce book by Germaine Krull - hard to find in any condition.

'Born on 20 November 1897, she trained at the Munich School of Photography until 1918, documenting everyday life in the big city with her camera, but also developing a sense for the artistic experiments of the avant-garde. Friends with writers, theatre people and filmmakers, the photographer first lived and worked in Berlin, then in Amsterdam and from 1926 onwards in the French metropolis. In 1967, the only surviving audio document was made at the Cinémathèque française on the occasion of an exhibition that André Malraux, the Minister of Culture, personally organised. However, Germaine Krull is not interested in glamour and high honours, she emphasises: "Photography is a profession. A craft.
After completing her apprenticeship in 1918, the photographer initially put her profession on the back burner and became politically active. But the Munich Soviet Republic was bloodily suppressed and Germaine Krull fled to Moscow. Back in Germany, she opened her own studio in Berlin in 1923. But it was only after she moved to Amsterdam with documentary filmmaker Joris Ivens, where she discovered her penchant for technical installations, quay walls, cranes and warehouses, that she made her breakthrough.
Having now arrived in Paris, the photographer presents the portfolio 'Métal'. The writer Pierre MacOrlan is enthusiastic: 'Whether Germaine Krull is transforming a machine landscape into a symphony or playing with the lights of Paris, she reveals secret details.'
The photographer emphasises the beauty of ball bearings or transformers with multiple exposures or black and white compositions that are as objective as they are surrealistically alienated. André Kertész, Man Ray and Berenice Abbott, who established the photographic image as a new, independent art form in 1928 with the "First Independent Salon of Photography', worked in a similar way.
Germaine Krull was one of the participants, but found her own way for her profession: 'It is neither painting nor fantasy. The photographer is a witness. The witness of his era. The real photographer is the witness of all days, the reporter."
The virtuoso reporter Germaine Krull becomes the mainstay of the magazine 'VU'. With her subjective photographic eye and a precisely controlled camera, temperament and technique, art and craftsmanship merge. Highlights of this combination of formal, aesthetic creativity with socio-political empathy are reportages such as 'The Women Workers of Paris'. For the philosopher Walter Benjamin, Germaine Krull thus stands on a par with photographers such as August Sander or Wilhelm Bloßfeldt in her very own way: 'The photographers who did not come to photography by chance, not out of convenience from the fine arts, today form the avant-garde among their peers.'
As if she had achieved her goal, Germaine Krull said goodbye to photography. After working as a war reporter during the liberation of France, she travelled through Southeast Asia in 1946 and opened a hotel in Bangkok. It was not until 1960 that the now successful businesswoman picked up her camera again to document relics and monuments of Asian cultures.
Germaine Krull, who died in Wetzlar in 1985, leaves a piece of advice for future generations of photographers: 'Photography is not a machine. Unfortunately, you are tied to the machine, the camera, the film, the development. But everyone has to feel their image. And then take one or at most two photos. Just clicking, clicking, clicking - that doesn't get you anywhere.'
(Deutschlandfunk)

Taide, Valokuvaus - Lukumäärä: 1 - Valokuvakirja

Germaine Krull - Marseille - 1935

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Germaine Krull - Marseille - 1935

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