Tag Archives: Latin America

Edward Weston, Portraits of Jose Clemente Orozco, 1926

The following portraits of Mexican painter Jose Clemente Orozco are photoshop renditions of ten negatives found in the Anita Brenner collection in Mexico City. 

Portraits of Mexican muralist José Clemente Orozco. 1926

Of these negatives, only one print is known to exist. That print was part of a Sotheby’s sale in Paris on November 19th, 2010, lot 28, and attributed at the time to Tina Modotti. I was the expert of the sale and I was wrong… Now I’ll explain why we can now attribute these images to Edward Weston. 

Portraits of Mexican muralist José Clemente Orozco, 1926

We knew from Weston daybooks that on Sunday 4th 1926 Anita and Weston visited Jose Clemente Orozco studio, but Weston doesn’t mention taking photographs : « May 4. Sunday, Anita and I went to Coyoacan to visit with Orozco the painter. I had hardly known his work before, which I found fine and strong. His cartoons – splendid drawings, in which he spared no one, either capitalist or revolutionnary leader – were scathing satires, quite as helpful in destroying a « cause », heroes and villains alike, as a machine gun. I would place Orozco among the first four or five painters of Mexico, perhaps higher. » Edward Weston Daybook.

 

Portraits of Mexican muralist José Clemente Orozco, 1926

While working on Brenner’s daybook, published after the Sotheby’s sale, we realized that Weston had indeed take a few portraits of Orozco that day (interestingly, Anita gets the date wrong, May 2d instead of 4th)… : « Sunday, May 2 (sic). Went out this morning to Orozco’s studio with Edward Weston. Edward made some portraits of him. Orozco showed us some of his old things and a few studies for the frescos he is doing. I got a beautiful complementation to my article on him. Some drawings, a small oil painting on paper, and a large one, head, perfectly first class. »

So we know for a fact that Weston made some portraits of Orozco, and probably to be used by Anita Brenner for an article. It would explain why he did not print more from these negatives, and why they were found in Anita Brenner estate.

Portraits of Mexican muralist José Clemente Orozco, 1926

Portraits of Mexican muralist José Clemente Orozco, 1926

Portraits of Mexican muralist José Clemente Orozco, 1926

These portraits were not used in the article mentioned in Anita’s daybook (it is not clear what article she is talking about, but the portrait is not reproduce in Forma or Mexican Folkways, the two revistas she was involved with). She did published an article in New Masses in New York, in January 1927, but I have been unable to get a look at it. 

Portraits of Mexican muralist José Clemente Orozco, 1926

Portraits of Mexican muralist José Clemente Orozco, 1926

Portraits of Mexican muralist José Clemente Orozco, 1926

Portraits of Mexican muralist José Clemente Orozco, 1926

Anyway, I am glad I can finally attribute these remarquable portraits to Edward Weston. It is quite unusual to recover such a important body of work from one of the greatest photographer of the XXth century.

Anita Brenner’s Journal of the Roaring Twenties, edited by her daughter Susannah Glusker, is available from the University of Texas Press : it is an entertaining and fascinating account of the artistic and cultural life in Mexico City during the Mexican “renaissance”.

You can now follow us on instagram at : gregoryleroyphoto.

The adventurous and tragic life of Jacob Granat

We just found in Paris around twenty nice Mexican photographs, mostly tipos and views
of the City of Mexico, titled and signed « J. Granat » – a name unknown to us. We quickly discovered that these photographs were widely produced as offset post card – but the
original photographic prints are rare. Included in the lot of prints was an unsigned street
view of calle San Francisco in Mexico City, with a Granat shop in the foreground, its likely
owner in the doorway. As good a clue as it gets.

Jacob Granat was born in 1871 in Lemberg (today Lviv), a city in Western Ukraine, at the
time part of the Austrian empire. In 1900, at the invitation of his uncle Jacob Kalt, he
moved to Veracruz in Mexico, and a year later in Mexico City. We know that he had an uncle
or a cousin working at the casa Boker, one of the most successful German owned business
in Mexico. Interestingly, Guillermo Kahlo worked at casa Boker during the last years of
the 19th century, and probably took his first photographs during the construction of the
new Boker shop in 1898-1899.

We also know that Jacob Granat became rapidly the « curio king » of the capital, selling luggages, post cards and other souvenirs from his shop in calle San Francisco, in the
Historical center. But the bulk of the business was apparently luggages, and we are
inclined to think that Jacob Granat was not the photographer, but the distributor of
these images, either in photographic prints or in post cards.

Guillermo Kahlo and Jacob Granat were born the same year (1871), were both German
speaking and both had strong connections with the Boker family. It is therefore almost
certain that they knew each other. It is tempting to speculate that when Granat opened
his « curio shop » he asked Kahlo for some tipos photographs. We will need further
research to validate this hypothesis.

Jacob Granat credits

Tipos Mexicanos

Calendario Azteca

Evangelista, Mexico

Tortillera, Mexico

Su Chata

Mercado

Los Consentidos de la casa

Ruinas de Mitla

Indias Amatecas

In 1906, Jacob Granat sold his shop to purchase the old Borda palace, where he opened
the first movie theater of the city, the famous Salon Rojo. Salon Rojo rapidly became the
most luxurious and successful theater in the city, and a center of night life for Mexico rich
and famous. It attracted politicians, notably Francisco Madero, who used to hold political meetings in Salon Rojo, and became a friend for Granat. In 1911, Madero was elected
president, and did probably reward Granat for his support.

In June 1912, Jacob Granat was one of the founder and the first president of Alianza Beneficencia Monte Sinai, the first Jewish charitable organization in Mexico.

in the mid 1920’s, Granat sold the salon Rojo and moved back to Europe, settling in Austria.
The reason of this exile are unknown. Some of Granat descendants speculate that he could
not deal with the grief from his friend Madero’s assassination.

Little is know of Jacob’s whereabout in Austria. Some of his relatives still living in Mexico
wrote recently that he tried to move back to Mexico after the Nazi invasion of Austria,
but could not, or was not allowed, to travel.

Jacob Granat was murdered by the Nazi regime at Auschwitz in 1943.

So let’s go back to the photograph of the Granat shop, and zoom in : here is the moving
image of a man I like to think is Jacob, the « curio king » in the doorway of his shop,
his face sadly in the shade of his straw boater.

Jacob Granat, Calle San Francisco, circa 1903

YOU CAN ALSO FOLLOW US ON INSTAGRAM AT GREGORYLEROYPHOTO.

http://www.enlacejudio.com/2012/10/25/la-historia-de-jacobo-granat-amigo-de-presidentes-pionero-de-la-comunidad-judia/

http://www.boker.net/html/edificio_boker.html

https://es.wikipedia.org/wiki/Casa_Borda

http://msinai.mx/nosotros/historia

Merille : photographer ? Publisher ? Pirate ?

We previously wrote about issues of authorship in early Mexican photography. But a set of cartes de visite, recently discovered, shed a new light on this complex subject.

Most of these carte de visite sized prints are mounted on board. On the verso, they are stamped with the name and address of “Merille, fotografo, 2da calle de San Francisco, n° 8, Mexico”. In itself, a wet stamp on the back of a carte de visite is unusual, as most studio photographers would have their cards printed by a typographical printer. Even more curious is the carte bellow.

mex-cdv335

 

Merille just stamped a Julio Amiel card ! On most of the other cards, the Julio Amiel name have been carefully erased, but is still visible…

 

mex-cdv336 mex-cdv337

Julio Amiel (certainly a French Jules Amiel) is known to have been active in Mexico city from 1860 to 1864. His studio was at n°7, 2da calle de San Francisco – so just next door or in front of the future studio or shop of Merille. It is believed that Amiel sold his studio in 1864 to François Aubert. Of Merille, we know almost nothing : only  the address of his studio. His first name is controversial : one source names him as Auguste, an other one as François. According to Palmquist and Kailbourn, in their hugely useful Pioneer Photographers from the Mississippi to the Continental Divide, he was active in Mexico city from 1864 to 1867. As we know with more certainty that François Aubert was active in Mexico from 1864 to 1869, that would place Merille and Aubert at the same time in Mexico city, facing each other, quite literally, in the calle de San Francisco…

But here is the rub : Merille is a well known name, and a lot of images bearing his stamp can be found in museum in the US or Mexico. But I have never personally seen a Merille photograph that was not actually by Aubert or an other photographer, including from now on Amiel. And all the photographs bellow, stamped on the back by Merille, fit pretty well in this theory : Merille was a publisher, not a photographer. (All titles are the original in Spanish inscribed in ink on the versos).

Indians

Indians

Tortilleras

Tortilleras

Emperatriz Carlota

Emperatriz Carlota (probably by Disderi, and dated 1868, after the death of the emperor).

Cocinera

Cocinera

Calle de Plateros

Calle de Plateros

Tortilleras

Tortilleras

Esquina de las calles Empedradillo, Escalerillas y Tacuba.

Esquina de las calles Empedradillo, Escalerillas y Tacuba.

Cupula de Santa Tereza à Vera Cruz

Cupula de Santa Tereza à Vera Cruz

Portail des marechaux

Portail des maréchaux

Catedral al Poniente

Catedral al Poniente

Chapultepec

Chapultepec

Templo de Santa Gertrudis en Orizaba

Templo de Santa Gertrudis en Orizaba

Cathedral

Cathedral

Calendario azteca

Calendario azteca

La Profesa

La Profesa

Looking forward to hear from my Mexican friends : do you know of any photographs that you can, without doubt, attribute to Merille ? Or is he an early and shameless photographic pirate ?

You can also follow us on instagram at gregoryleroyphoto.

The album of the baron d’Huart, circa 1863-1867

We just acquired a very interesting album of just ten prints that is the perfect follow up to our last post, as it includes one photograph featured in the collection of the comte de Germigny. All the prints are approximately of the same size, and obviously from the same photographer.

River crossing at poso del Marcho.

River crossing at poso del Marcho. The other prints of this image in our collection are titled “paseo del Diablo”

Luckily, the ex libris of the baron d’Huart is pasted on the first page of the album.

Ex libris of the baron Charles d'Huart

Ex libris of the baron d’Huart

But here’s the rub. TWO barons d’Huart participated in the Campagne du Mexique.

Arguably the most famous is Frédéric d’Huart, aide de camp of the count of Flanders. Frédéric was send to Mexico in January 1866 from Bruxelles to officially notify the empress Charlotte of the death of her father Leopold. On his way back from Mexico City to Vera Cruz, in march 1866, Frederic was killed by the Mexican guerilla. It is unlikely that he had time, on such a short and rushed stay, to gather photographic prints, even less to photograph himself.

We found a trace of the other d’Huart in the archives of the Commission Scientifique du Mexique (again…).

Charles d’Huart, a distant cousin of Frédéric, is from the French branch of the Huart family. Born in 1823 in the castle of Bélange, in eastern France, he graduates from école Polytechnique in 1846. In 1864, he is mentioned as a “capitaine d’artillerie” and a member of the Commission du Mexique, section 1, Zoology and Botany. In November 1867 he receives the medal of the order of Guadalupe. He is killed in 1870 during the siege of Strasbourg. He is probably the former owner of our album – and quite probably the photographer. We will soon check his records in the archive of the French army to learn more about this new name in the history of Mexican photography.

Vera Cruz, view from the sea

Vera Cruz, view from the sea

Vera Cruz, view of the beach and the pier.

Vera Cruz, view of the beach and the pier.

Vera Cruz, the hospital

Vera Cruz, the hospital

Soledad fort (?)

Soledad fort (?)

The gorge of the Soledad river

The gorge of the Soledad river

The road from Vera Cruz to Mexico city

The road from Vera Cruz to Mexico city

The Gallifet mentioned in the caption is certainly Gaston de Gallifet, a colorful character who will later be Minister of War. (cf en.wikipedia.org/wiki/Gaston_Alexandre_Auguste,_Marquis_de_Galliffet)

Oak tree in Medellin, near Vera Cruz

Oak tree in Medellin, near Vera Cruz

An hacienda, near Medellin

An hacienda, near Medellin

YOU CAN ALSO FOLLOW US ON INSTAGRAM AT GREGORYLEROYPHOTO.

Early views of Brazil by Guilherme Gaensly

We acquired before the summer a large group of early Latin-American photographs, most of them titled in German. The album includes a interesting group of views of the state of Pernambuco, less travelled and photographed than Rio de Janeiro. The albumen prints are all attributed to Guilherme Gaensly (1843-1928) and dated from the late 1870’s to the mid 1880’s.

The port of Pernambuco, attributed to Guilherme Gaensly

The port of Pernambuco, attributed to Guilherme Gaensly

Born Wilhem Gänsli in 1843 in Switzerland, Gaensly moved to Brazil in 1848 when his father opened a cotton export company in the city of Salvador de Bahia.  In the early 1870’s, Gaensly worked in the Pernambuco studio of German photographer Alberto Henschel, at the time the most successful photographer in Brazil.

In 1875, Gaensly opened his own studio in Bahia, and in 1882 partnered with Rodolpho Lindemann to create the Gaensly-Lindemann studio. Around 1894, Gaensly moved to Sao Paolo, where he lived until his death in 1928.

Olinda, Pernambuco, attributed to Guilherme Gaensly

Olinda, Pernambuco, attributed to Guilherme Gaensly

 

Pernambuco, attributed to Guilherme Gaensly

Pernambuco, attributed to Guilherme Gaensly

The port of Bahia, Gaensly & Lindemann

The port of Bahia, Gaensly & Lindemann

On the bank of the Rio Vermelho, Bahia, by Guilherme Gaensly

On the bank of the Rio Vermelho, Bahia, by Guilherme Gaensly

The port of Bahia, by Gaensly & Lindemann

The port of Bahia, by Gaensly & Lindemann

Rio Vermelho, Bahia, by Gaensly & Lindemann

Rio Vermelho, Bahia, by Gaensly & Lindemann

Guilherme Gaensly credits, circa 1875

Guilherme Gaensly credits, circa 1875

Gaensly & Lindemann credits, circa 1882

Gaensly & Lindemann credits, circa 1882

Portrait of a Brasilian gentleman, by Alberto Henschel

Portrait of a Brasilian gentleman, by Alberto Henschel

Rio de Janeiro from the Corcovado, by Marc Ferrez

Rio de Janeiro from the Corcovado, by Marc Ferrez

Rio de Janeiro from the Corcovado, by Marc Ferrez

Rio de Janeiro from the Corcovado, by Marc Ferrez

Panorama of Rio de Janeiro, by Marc Ferrez

Panorama of Rio de Janeiro, by Marc Ferrez

Indian studio portrait by an anonymous photographer.

Indian studio portrait by an anonymous photographer.