Surrealist and Experimental Photography

The core of the collection; works that challenge the way I see the world and that could reference the subconscious and dream states…

Sounds like Surrealism.

Dora Maar (Henriette Theodora Markovitch) (French, 1907–1997), Portrait of Nusch Éluard, c. 1935, Gelatin silver print, 9 1⁄2 × 7 1⁄4 inches Inscriptions Many handwritten inscriptions in pencil on verso. Provenance: Hôtel Drouot, Paris, Loudmer, D’un

Dora Maar (Henriette Theodora Markovitch) (French, 1907–1997), Portrait of Nusch Éluard, c. 1935, Gelatin silver print, 9 1⁄2 × 7 1⁄4 inches Inscriptions Many handwritten inscriptions in pencil on verso. Provenance: Hôtel Drouot, Paris, Loudmer, D’une bibliothèque l’autre, December 1, 1995, lot 296 (see cat. 51a & 51b) Sotheby’s, Paris, Fred Feinsilber Collection, October 12, 2006, lot 312, Private collection, Paris References: Combalía, Dora Maar, cat. 62 (also listed as Junge mit ungleichen Schuhen, Paris 1935). Paul Éluard, pseudonym Didier Desroches, Le Temps déborde, (Paris: Editions Cahiers d’Art, 1947). The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024, catalog number 52. Notes: Same size as the one published in Le Temps Déborde. This print was probably the one used for reproduction given the notations on the verso. Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025

Brassaï (Gyula Haláz) (French, born in Hungary, 1899–1984), Young Couple Wearing a Two-in-One Suit at the Bal de la Montagne Sainte- Geneviève, c. 1931, Printed 1950s, Gelatin silver print, ferrotyped, 11 1⁄2 × 9 1⁄2 inches Inscriptions Signed and d

Brassaï (Gyula Haláz) (French, born in Hungary, 1899–1984), Young Couple Wearing a Two-in-One Suit at the Bal de la Montagne Sainte- Geneviève, c. 1931, Printed 1950s, Gelatin silver print, ferrotyped, 11 1⁄2 × 9 1⁄2 inches Inscriptions Signed and dated in ink Dated and inscribed in pencil: “jeune couple amoureux, Paris” Photographer’s stamp “81 Rue du Faub. St-Jacques credit,” “Tirage de l’Auteur,” “Photographie originale” and copyright credit on verso;Provenance The Shpilman Collection Christie’s New York 2016 References; Victoria Combalía, Paris y los Surrealistas, exhibition catalog (Bilbao: Museo de Bellas Artes de Bilbao, 2005), 223. Hinson et al., Forbidden Games, 183, plate 139. Alain Sayag and Annick Lionel- Marie, Brassai: The Monograph (Boston: Little, Brown and Company, 2000), 90. The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024. Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025

Georges Hugnet (French, 1906– 1974), page from The Seventh Face of the Die (La Septième face du dé (Invincible Orientation)) #80, 1936, Poem collage, 12 3⁄4 × 9 3⁄4 inches. Provenance: From Hugnet family Sam Stourdze, Paris References: Timothy Baum,

Georges Hugnet (French, 1906– 1974), page from The Seventh Face of the Die (La Septième face du dé (Invincible Orientation)) #80, 1936, Poem collage, 12 3⁄4 × 9 3⁄4 inches. Provenance: From Hugnet family Sam Stourdze, Paris References: Timothy Baum, Francois Buot and Sam Stourdze, Georges Hugnet, Collages, exhibition catalog (Paris: Editions Léo Scheer, 2003), 15. Judi Freeman, The Dada & Surrealist Word Image (Cambridge, MA: MIT Press, 1989), 106, fig. d. Twilight Visions: Surrealism, Photography and Paris, exhibition catalog (Berkeley: University of California Press, 2009). Exhibitions: The Dada & Surrealist Word Image, Los Angeles County Museum of Art and others, June 1989–May 1990 Georges Hugnet, Collages, 14–16 Verneuil Paris, November 2003–January 2004 Twilight Visions: Surrealism, Photography and Paris, Frist Center for the Visual Arts, Nashville, TN and others, September 2009–October 2010, checklist no. 100, The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024 Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025

Hans Bellmer (German, 1902–1975), Doll (La Poupée), 1936, Book with 10 gelatin silver prints, 6 3⁄4 × 5 1⁄8 inches, Images: 4 5⁄8 × 3 1/16 inches; Provenance: Ubu Gallery, New York; References: Christian Bouqueret, Des années folles aux années noires

Hans Bellmer (German, 1902–1975), Doll (La Poupée), 1936, Book with 10 gelatin silver prints, 6 3⁄4 × 5 1⁄8 inches, Images: 4 5⁄8 × 3 1/16 inches; Provenance: Ubu Gallery, New York; References: Christian Bouqueret, Des années folles aux années noires: La Nouvelle vision photographique en France, 1920–1940 (Paris: Marval, 1997), 68–69. Andrew Roth et al., The Book of 100 Books: Seminal Photographic Books of the Twentieth Century (New York: PPP Editions, 2001), 88–89. Martin Parr and Gerry Badger, The Photobook: A History, Volume 1 (London: Phaidon, 2004), 106. Hans Bellmer, Revue Obliques [special number] (Paris: 1975), 69. Sue Taylor, Hans Bellmer: The Anatomy of Anxiety (Cambridge: MiT, 2000), plates 3.1, 3.2. Hans Bellmer, Photographe (Paris: Centre Pompidou, Musée National D’art Moderne, Paris, 1983), 16–26. Pierre Dourthe, Bellmer, le principe de perversion (Paris: Jean-Pierre Faur, 1999), 52–53. The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024. Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025

Manuel Álvarez Bravo (Mexican, 1902–2002), Optic Parable (Parábola óptica), 1931, Printed c. 1938–1939, Gelatin silver print, 7 1⁄4 × 8 1⁄2 inches Inscriptions Faint notations with numbers on verso; Provenance: Justino Fernandez, Mexico City Vintage

Manuel Álvarez Bravo (Mexican, 1902–2002), Optic Parable (Parábola óptica), 1931, Printed c. 1938–1939, Gelatin silver print, 7 1⁄4 × 8 1⁄2 inches Inscriptions Faint notations with numbers on verso; Provenance: Justino Fernandez, Mexico City Vintage Works, Alex Novak, PA ; References: André Breton et al., Exposición Internacional del Surrealismo, exhibition catalog (Galeria De Arte Mexicano, Mexico DF, 1940), cat. 14. Flores et al., Manuel Álvarez Bravo, 115 (variant, cropped). Kismaric, Manuel Álvarez Bravo, frontispiece (another variant, cropped). Vermare, Manuel Álvarez Bravo, Henri Cartier-Bresson, Walker Evans, 59 (another variant on front cover). Katherine Ware and Peter Barberie, Dreaming in Black and White: Photography at the Julien Levy Gallery (New Haven: Yale University Press, 2006), 278, plate 238 (another variant); The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Exhibitions: Exposición Internacional del Surrealismo, Galería De Arte Mexicano, Mexico DF, 1940, cat. 14; Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025 Notes: Only one other print of this variant is known. Acquired from the collection of Julien Levy, it is in the collection of the Philadelphia Museum of Art.

Maurice Tabard (French, 1897– 1984), Montage [Nude] (Montage [Nu]), Gelatin silver print, mounted on board with overmat, 9 × 7 inches Inscriptions Signed and dated in pencil on recto of mount; Provenance: The Collection of Robert Shapazian, Christie’

Maurice Tabard (French, 1897– 1984), Montage [Nude] (Montage [Nu]), Gelatin silver print, mounted on board with overmat, 9 × 7 inches Inscriptions Signed and dated in pencil on recto of mount; Provenance: The Collection of Robert Shapazian, Christie’s, New York, April 8, 2011, lot 491 Acquired at the above sale through agent The Shpilman Collection Christie’s, New York 2016; References: Pierre Gassman et al., Tabard (Paris: Contrejour, 1987), 92. The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025

Osamu Shiihara (Japanese, 1905–1974), Untitled [Nude], c. 1937–38, Gelatin silver print, 18 1⁄4 × 14 1⁄2 inches; References: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffe

Osamu Shiihara (Japanese, 1905–1974), Untitled [Nude], c. 1937–38, Gelatin silver print, 18 1⁄4 × 14 1⁄2 inches; References: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Provenance: Family of the artist MEM Gallery, Tokyo Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025

Roger Parry (French, 1905– 1977), No. 2 Montage, 1933, 2 Gelatin silver prints, mounted, 9 1⁄8 × 13 5⁄8 inches Inscriptions, Signed, titled and dated by photographer in ink and stamped; Provenance: Sotheby’s, New York; References; The Subversive Eye;

Roger Parry (French, 1905– 1977), No. 2 Montage, 1933, 2 Gelatin silver prints, mounted, 9 1⁄8 × 13 5⁄8 inches Inscriptions, Signed, titled and dated by photographer in ink and stamped; Provenance: Sotheby’s, New York; References; The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025 Notes: The model in this diptych is Assia. The image of her torso is a (cropped) print of another photograph.

Umbo (Otto Umbehr) (German, 1902–1980), Mannequins, 1929, Gelatin silver print, 8 3⁄4 × 11 3⁄4 inches Inscriptions Signature in black ink on lower right of recto: “Umbo” Notation on upper right on verso: “W/9” Notation in pencil on verso: “#047, $15”

Umbo (Otto Umbehr) (German, 1902–1980), Mannequins, 1929, Gelatin silver print, 8 3⁄4 × 11 3⁄4 inches Inscriptions Signature in black ink on lower right of recto: “Umbo” Notation on upper right on verso: “W/9” Notation in pencil on verso: “#047, $15” Stamp on verso: “Julien Levy Gallery, 602 Madison Avenue, NewYorkCity”; Provenance: Julien Levy Gallery (stamp on verso) Private collection, New Jersey Bruce Silverstein Gallery, New York ; References: Franz Hessel, “Eine gefährliche Strassearticle,” Das Illustrierte Blatt, June 1929, no. 24, 15, partially reproduced in Herbert Molderings, Umbo: Otto Umbehr 1902–1980 (Dusseldorf: Richter Verlag, 1995), 144. The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Exhibitions: Probably exhibited at the Julien Levy Gallery (New York) in Surréalisme, January 1932 and/or Modern European Photography, February–March 1932, The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025 Notes: This is probably the only known print of this image in existence.

Erwin Blumenfeld (German, 1897– 1969), Solarized Portrait [Portrait of Erika Mann], c. 1934, Gelatin silver print, solarized, 12 × 9 1⁄2 inches, Inscriptions,Amsterdam stamp on verso; Provenance: Sotheby’s, New York; References: The Subversive Eye; S

Erwin Blumenfeld (German, 1897– 1969), Solarized Portrait [Portrait of Erika Mann], c. 1934, Gelatin silver print, solarized, 12 × 9 1⁄2 inches, Inscriptions,Amsterdam stamp on verso; Provenance: Sotheby’s, New York; References: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025; Notes: Kicken Gallery had a positive print of this image for sale.

Man Ray (Emmanuel Radnitzky) (American, 1890–1976), Self-Portrait Distortion, c. 1928–30, Gelatin silver print, 7 × 9 5/16 inches Inscriptions, Studio stamp on verso; Provenance: André Emmerich Gallery, New York Houk Friedman, New York Barry Friedman

Man Ray (Emmanuel Radnitzky) (American, 1890–1976), Self-Portrait Distortion, c. 1928–30, Gelatin silver print, 7 × 9 5/16 inches Inscriptions, Studio stamp on verso; Provenance: André Emmerich Gallery, New York Houk Friedman, New York Barry Friedman, New York; References: Emmanuelle De L’Ecotais and Katherine Ware, Man Ray (Cologne: Taschen, 2000), 153. Ingrid Schaffner and Colin Westerbeck, Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy, exhibition catalog (Curatorial Assistance, 2004), 34. Ronny Van de Velde, Man Ray (Antwerp: 1994), 208 (variant), The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Exhibitions: Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy, Palmer Museum of Art, Pennsylvania and others, 2004–2006, The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025

Werner Rohde (German, 1906– 1990), On the Umbrella’s Point, 1929, Gelatin silver print, 7 × 4 1⁄2 inches Inscriptions, Signed, dated, titled and inscribed in pencil “vintage” and photographer’s stamp “copyright Werner Rohde Breman, am Dobben 58” on v

Werner Rohde (German, 1906– 1990), On the Umbrella’s Point, 1929, Gelatin silver print, 7 × 4 1⁄2 inches Inscriptions, Signed, dated, titled and inscribed in pencil “vintage” and photographer’s stamp “copyright Werner Rohde Breman, am Dobben 58” on verso Numbered in pencil by various hands on verso; Provenance: Paul Hertzmann, San Francisco; References: Ingo Taubhorn and Ferdinand Bruggemann, Werner Rohde, Fotografien 1925–37 (Berlin: Nishen, 1992), 115, listed as Der Schirm, The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025

Emmanuel Sougez (French, 1889–1972), Film Strip, late 1920s, Gelatin silver print, photogram, 11 × 8 inches, Inscriptions Stamped “sougez” with notations “film,” “bas,” and “haut” on verso; Provenance: Beausant Lefevre, Paris; References: Hinson et

Emmanuel Sougez (French, 1889–1972), Film Strip, late 1920s, Gelatin silver print, photogram, 11 × 8 inches, Inscriptions Stamped “sougez” with notations “film,” “bas,” and “haut” on verso; Provenance: Beausant Lefevre, Paris; References: Hinson et al., Forbidden Games, 84. The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025; Notes: One of two known vintage prints of this image. The other is now in the collection of the Cleveland Museum of Art, purchased from David Raymond.

Lee Miller (American, 1907– 1977), Untitled [Carousel Cows], Paris, France, c. 1930, Gelatin silver print, mounted, 9 × 11 1⁄4 inches, Inscriptions, Signature on lower right on recto of mount, Studio stamp on verso of mount; Provenance: Christie’s, N

Lee Miller (American, 1907– 1977), Untitled [Carousel Cows], Paris, France, c. 1930, Gelatin silver print, mounted, 9 × 11 1⁄4 inches, Inscriptions, Signature on lower right on recto of mount, Studio stamp on verso of mount; Provenance: Christie’s, New York, October 12, 2000, lot 37 Phillips, New York, 2016; References: Mark Haworth Booth, The Art of Lee Miller (New Haven: Yale University Press, 2007), 59, fig. 44. Jane Livingston, Lee Miller: Photographer(NewYork:Thames & Hudson, 1989), 29. Anthony Penrose, Surrealist Lee Miller (UK: Fourly, 1998), 45, fig. 06 The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, essays by Dr. William Jeffett, Dawn Ades and David Raymond, The Dali Museum and Ludion, 2024; Exhibited: The Subversive Eye; Surrealist and Experimental Photography from the Collection of David Raymond, The Dali Museum, St. Petersburg, FL, 2024-2025

Hans Richter (1888-1976), Ghosts Before Breakfast/Film Study. 1926-28. Unique assemblage of two film strips, with Richter's titles and dates in ink on mount recto, The strips 3 1/8 x 1 1/4 in. (7.9 x 3.2 cm.) and 3 7/8 x 1 1/8 in. (9.8 x 2.8 cm.), t

Hans Richter (1888-1976), Ghosts Before Breakfast/Film Study. 1926-28. Unique assemblage of two film strips, with Richter's titles and dates in ink on mount recto, The strips 3 1/8 x 1 1/4 in. (7.9 x 3.2 cm.) and 3 7/8 x 1 1/8 in. (9.8 x 2.8 cm.), the mount 5 x 3 1/4 in. (12.7 x 8.3 cm.); Provenance: Hirschel and Adler Gallery, NY The Estate of Brent Sikkema, NY

Man Ray (Emmanuel Radnitzky) (American, 1890–1976), Raygraph, Gelatin silver print after the 1922 rayograph printed on double weight, mat paper with consistent silver mirroring, photo 8.75"h x 6.75"w, mount 15"h x 12"w., tipped to card mount, Untitle

Man Ray (Emmanuel Radnitzky) (American, 1890–1976), Raygraph, Gelatin silver print after the 1922 rayograph printed on double weight, mat paper with consistent silver mirroring, photo 8.75"h x 6.75"w, mount 15"h x 12"w., tipped to card mount, Untitled (Plate 4) from the album "Champs Delicieux". Unmarked. Pencil inscription on cardboard in the frame, "Man Ray photograph given to W.L.H.Jr. (William Lippincott Hanaway) by Carol Robinson 7/58". The mount was trimmed at some point. This print from most probably from a portfolio that was in an edition of 40; Provenance: Carol Robinson Gifted to W.L.H.Jr. (William Lippincott Hanaway) 7/58

Henri Cartier-Bresson(French, 1908–2004), André Pieyre de Mandiargues and Leonor Fini, Trieste, Italy, 1933, an early print, 10 x 7.5 inches, signed with title and notations on verso. Provenance; Collection of Charles Henri Ford, New York Mitchell A

Henri Cartier-Bresson(French, 1908–2004), André Pieyre de Mandiargues and Leonor Fini, Trieste, Italy, 1933, an early print, 10 x 7.5 inches, signed with title and notations on verso. Provenance; Collection of Charles Henri Ford, New York Mitchell Aldus Gallery, NY

Roget Livet (1905, France - 1975, France), UNE REGRETTABLE AFFAIRE. c. 1947. A surrealist story. Lg.4to., 11 x 9 inches; 28 x 22.5 cm. with clever text in French printed on pages between each of the photographs. ***Book has nineteen mounted original

Roget Livet (1905, France - 1975, France), UNE REGRETTABLE AFFAIRE. c. 1947. A surrealist story. Lg.4to., 11 x 9 inches; 28 x 22.5 cm. with clever text in French printed on pages between each of the photographs. ***Book has nineteen mounted original photographs by Roger Livet to illustrate what he and Jean Calvelcall "une Film" ; "ATPF presente" . . Bound in original printed wraps. All 19 photographs present. All text and mounted photos are on rectos only. Some minor glue discoloration from photo mounts. The only other known copy is in the Centre Pompidou. The photographs are various dimensions.