Georges HUGNET
Collage original sur une carte postale autographe signée adressée à son ami Charles Ratton
[Brigitte BARDOT] Original collage on a signed, handwritten postcard addressed to his friend Charles Ratton
L'Herbière 2 janvier 1962|28.50 x 34.50 cm|un collage encadré
[Brigitte BARDOT] Original collage on a signed, handwritten postcard addressed to his friend Charles Ratton
L'Herbière 2 January 1962 | Collage: 10 x 14.5 cm / Frame: 28.5 x 34.5 cm
Original collage by Georges Hugnet produced on the back of a postcard representing the wreck of the Champlain at the Île de Ré. The artist has distorted the first meaning by overloading the postcard with cut-outs: a portrait of Brigitte Bardot whom he makes hold a strawberry, as well as another female character on the telephone in a swimming costume with her feet in the water. The postcard is framed in a Marie-Louise frame allowing the back to be read.
18 lines in black ink in which Hugnet informs the addressee of his move and comments on the postcard sent: «Happy New Year, Charles. I am sending you a small original montage to enhance your beautiful 1961 copy since you love BB.»
Amusing postcard with an original collage addressed to Charles Ratton, one of the greatest ethnographic arts specialists and close friend of Georges Hugnet.
André Thirion in Révolutionnaires sans révolution (1972) becomes aware of this
relationship between Charles Ratton and the surrealists, and more specifically Georges Hugnet: «The "Premier Catalan" was a bistro on the Rue des Grands-Augustins [...]. Picasso discovered it. Alongside Georges Hugnet, they met here every Wednesday: Eluard, Domínguez, Picasso, Desnos, Leiris, Baudin, Auric, Charles Ratton, Jean Bouret, an old friend of Apollinaire whom they called the Baron Mollet, and several others.»
The two men probably met each other in the 1930s. There is mention of Georges Hugnet's works in the catalogue for the Exposition surréaliste d'objets, which took place in May 1936 at the Galerie Charles Ratton. The gallerist and the artist remain very close friends as shown by this greetings card from the year 1962.
«Close to surrealist and avant-garde artists, whose work he exhibits in his gallery, he acquired a reputation as a dealer of revolutionary art, and particularly for the so-called ‘black' arts. At this time, this included African, Oceanian and Native American art. He then became the leader and one of the internationally renowned art dealers. His contribution to their popularization was unrivaled. Through all of these activities, he succeeded in changing the way in which these works were viewed. Very early on he understood the importance of international trade, working between Europe and the United States where he actively participated in setting up exhibitions in museums and art galleries. Until the end of his life, Charles Ratton remained a great dealer and expert of ethnographic arts.» (Aristide Courtois et Charles Ratton au cœur de la succession Madeleine Meunier, 2016)
By happy coincidence, Madeleine Meunier, Charles Ratton's wife, requested that the profits from the sale of his art works go to the Brigitte Bardot Foundation.
L'Herbière 2 January 1962 | Collage: 10 x 14.5 cm / Frame: 28.5 x 34.5 cm
Original collage by Georges Hugnet produced on the back of a postcard representing the wreck of the Champlain at the Île de Ré. The artist has distorted the first meaning by overloading the postcard with cut-outs: a portrait of Brigitte Bardot whom he makes hold a strawberry, as well as another female character on the telephone in a swimming costume with her feet in the water. The postcard is framed in a Marie-Louise frame allowing the back to be read.
18 lines in black ink in which Hugnet informs the addressee of his move and comments on the postcard sent: «Happy New Year, Charles. I am sending you a small original montage to enhance your beautiful 1961 copy since you love BB.»
Amusing postcard with an original collage addressed to Charles Ratton, one of the greatest ethnographic arts specialists and close friend of Georges Hugnet.
André Thirion in Révolutionnaires sans révolution (1972) becomes aware of this
relationship between Charles Ratton and the surrealists, and more specifically Georges Hugnet: «The "Premier Catalan" was a bistro on the Rue des Grands-Augustins [...]. Picasso discovered it. Alongside Georges Hugnet, they met here every Wednesday: Eluard, Domínguez, Picasso, Desnos, Leiris, Baudin, Auric, Charles Ratton, Jean Bouret, an old friend of Apollinaire whom they called the Baron Mollet, and several others.»
The two men probably met each other in the 1930s. There is mention of Georges Hugnet's works in the catalogue for the Exposition surréaliste d'objets, which took place in May 1936 at the Galerie Charles Ratton. The gallerist and the artist remain very close friends as shown by this greetings card from the year 1962.
«Close to surrealist and avant-garde artists, whose work he exhibits in his gallery, he acquired a reputation as a dealer of revolutionary art, and particularly for the so-called ‘black' arts. At this time, this included African, Oceanian and Native American art. He then became the leader and one of the internationally renowned art dealers. His contribution to their popularization was unrivaled. Through all of these activities, he succeeded in changing the way in which these works were viewed. Very early on he understood the importance of international trade, working between Europe and the United States where he actively participated in setting up exhibitions in museums and art galleries. Until the end of his life, Charles Ratton remained a great dealer and expert of ethnographic arts.» (Aristide Courtois et Charles Ratton au cœur de la succession Madeleine Meunier, 2016)
By happy coincidence, Madeleine Meunier, Charles Ratton's wife, requested that the profits from the sale of his art works go to the Brigitte Bardot Foundation.
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