Daniel Masclet

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Daniel Masclet, Ma Femme, 1927

Vintage gelatin silver print, 6 1/8 x 4 15/16 in. (15.6 x 12.5 cm)

(Masclet's wife Francesca)

1230

$6,500

2 / 6

Daniel Masclet, Profil, 1927

Vintage carbon print, 8 13/16 x 6 7/16 in. (22.4 x 16.4 cm)

(Masclet's wife, Francesca)

4308

$7,500

3 / 6

Daniel Masclet, Le grain de beaute, 1929

Vintage gelatin silver print, 10 3/4 x 7 15/16 in. (27.3 x 20.2 cm)

(Masclet's wife Francesca)

3487

$5,500

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Daniel Masclet, Coin de Rue, 1927

Vintage gelatin silver print, 8 1/2 x 6 3/8 in. (21.6 x 16.2 cm)

6837

$5,500

Daniel Masclet, Les yeux clos, 1929
Vintage gelatin silver print, 8 3/8 x 10 in. (21.3 x 25.4 cm)
8570
$7,500

5 / 6

Daniel Masclet, Les yeux clos, 1929

Vintage gelatin silver print, 8 3/8 x 10 in. (21.3 x 25.4 cm)

8570

$7,500

Signed and dated with title in a different hand in pencil on print verso.
Illustrated: Bouqueret, Christian. Daniel Masclet: Photographe Critique Théoricien. Marvel, 2001, p. 69, pl. 54.

These photographs by Masclet are believed to be of the French actress, playwright, and novelist, Odette Joyeaux, made very early in her career, most likely while she was still studying dance at the Paris Opera Ballet. It is remarkable how she looks more alive with her eyes closed. With her eyes open she resembles a mannequin, and the photograph becomes surreal. The two together allude to the Surrealists’ dedication to unleashing the expression of the subconscious, for them, a state of being beyond merely awake or asleep.

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Daniel Masclet, Les yeux ouverts, 1929

Vintage gelatin silver print, 8 3/4 x 11 1/4 in. (22.2 x 28.6 cm)

6845

$7,500

Mounted. Signed in pencil on mount recto.
Illustrated: Bouqueret, Christian. Daniel Masclet: Photographe Critique Theoricien. Paris: Marval, 2001, p. 69, pl. 54 (variant).

These photographs by Masclet are believed to be of the French actress, playwright, and novelist, Odette Joyeaux, made very early in her career, most likely while she was still studying dance at the Paris Opera Ballet. It is remarkable how she looks more alive with her eyes closed. With her eyes open she resembles a mannequin, and the photograph becomes surreal. The two together allude to the Surrealists’ dedication to unleashing the expression of the subconscious, for them, a state of being beyond merely awake or asleep.

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