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Hans Bellmer

Germany (Katowitz 1902 -  Paris 1975 ) Wikipedia® : Hans Bellmer
BELLMER Hans La Poupée Enceinte

Bonhams
Apr 5, 2019
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Artworks in Arcadja
1392

Some works of Hans Bellmer

Extracted between 1,392 works in the catalog of Arcadja
Hans Bellmer - Sans Titre (recto And Verso)

Hans Bellmer - Sans Titre (recto And Verso)

Original 1945
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Lot number: 106
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Hans Bellmer (1902-1975) Sans titre (recto and verso) signed 'Bellmer' (lower right; recto); signed again 'Bellmer' (lower right; verso) watercolor and pencil on paper (recto); pencil on paper (verso) 9 3/8 x 9 5/8 in. (23.8 x 24.5 cm.) Executed circa 1945 Provenance Galerie André-François Petit, Paris. Acquired from the above by the late owner, 1987.
Hans Bellmer - Histoire De L'œil

Hans Bellmer - Histoire De L'œil

Original 1944
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Lot number: 175
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HANS BELLMER (1902-1975) Histoire de l'Œil the complete set of six etchings, on wove paper, 1944, presumably proofs aside from the book edition of 200, published by K-éditeur, Paris, each the full sheet, foxmarks in places, otherwise in good condition Each Sheet: 9 7/8 x 6 ¼ in. (251 x 159 mm.) (6)
Hans Bellmer - La Poupée Enceinte

Hans Bellmer - La Poupée Enceinte

Original 1937
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Lot number: 62
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Hans Bellmer (1902-1975) La Poupée Enceinte, c. 1937 Gelatin silver print with hand-coloring. 5 3/8 x 5 1/2in (13.7 x 14cm) Footnotes One of the major figures of the Surrealist movement and an enigmatic character, Hans Bellmer contributed to a number of Surrealist exhibitions and publications such as Cahiers d'Art, and Minotaure. Bellmer created his first disjointed and curvaceous wooden doll (la Poupée) in 1933. Four years later, he made a second version, represented in this lot with more malleable and interchangeable limbs. Bellmer could manipulate the doll into a series of fetishistic and erotic positions which he then captured on film, often hand-coloring the resulting prints. In this image, Poupée, with her curvaceous belly, assumes the pose of a woman about to give birth. Her lifeless and child-like facial features are concealed, although the floral wallpaper in the background and bow in her hair suggest something grotesquely girlish. As ever, the image is unnerving-we become part of Bellmer's highly-charged and obsessional fantasy world. Literature Hans Bellmer: Photographie, Filipacchi/ Centre Georges Pompidou, Paris, 1983, p. 82; Krauss et Livingston, L'Amour Fou: Photography and Surrealism, Corcoran Gallery of Art, Washington, D.C., 1985, fig.77, p.88; and Lichtenstein, Behind Closed Doors: The Art of Hans Bellmer, International Center of Photography, New York/ University of California Press, 2001, fig. 39, p. 83
Hans Bellmer - Femme Squelette Articulée

Hans Bellmer - Femme Squelette Articulée

Original
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Lot number: 232
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PROPERTY FROM A PRIVATE FRENCH COLLECTION Hans Bellmer FEMME SQUELETTE ARTICULÉE Hans Bellmer 1902 - 1975 signed Bellmer (lower right) oil on canvas 65 x 65 cm; 25 5/8 x 25 5/8 in. Provenance Galerie 1900-2000, Paris Acquired from the above by the present ownerin 2005 Catalogue Note This work alludes to the Kleist's Marionnettes, illustrated by Bellmer. Hans Bellmer and the Anagrams of the Body Bellmer is too often regarded as an artist obsessed by sex and its representations, and his work interpreted as merely eroticism. For Bellmer, the image of the body is more than a simple representation, it is the skilful mise en scène of desire. To view one of Bellmer's paintings is to understand that the body is the mirror of the psyche. It is a screen of representation, a copy, that translates the different experiences of the self. It is the theatre of our dreams and sensibility. Many an artist has intertwined pictorial language with verbal language, the legible with the visible, the verbal with the iconic. For all of them the body is a place of privileged representation; a surface that enables the mise en scène of the psychic. For Bellmer, the body is like a dream. He invites us to dismantle and deconstruct it, to discover concealed or forbidden images. "The body, like a dream, can impulsively shift the centre of gravity of its images", Bellmer wrote. Since Freud and psychoanalysis, the arts have conceived the body as a fragmented and semi-opaque screen of the unconscious. The image of the body is a cryptic interface that represents our inner world. Bellmer's drawings are also enigmas, like veritable cryptograms, that we need to decode. "Perhaps life needs to be deciphered like a cryptogram", wrote André Breton in Nadja. A friend of Breton and the Surrealists, Bellmer theorised this point of view in his book, Little Anatomy of the Physical Unconscious or the Anatomy of the Image (Le Terrain vague. Paris. 1957). A key phrase summarises the entire volume: "The body is like to a sentence that invites you to dismantle it, so as to reconstruct it through an infinite series of anagrams of genuine content".This perspective led Bellmer to compose some admirable anagrammatic poems ("Violet-hearted rose"), with Nora Mitrani and Joé Bousquet, and later, with Unica Zürn. The Doll, created in 1933, is itself an immense anagram, dismantled and reconstructed according to the principles of Bellmer's erotic universe. More than an erotic or transgressive provocation, she is also a mighty machine for fighting the Nazism that Bellmer fled in 1938, responding to an invitation from the Surrealists to move to France. Die Püppe, (the doll) was itself conceived as an anagram with infinite permeations, engaging the painter in a great erotic and creative game. Just like the drawings, she is a language-body, un terrain de jeu, a playground, ein tummelplatz; in perpetual anamorphosis, pulling us into the obscurities of our dreams and imaginations. Jean-François Rabain December 2018
Hans Bellmer - Madame Edwarda

Hans Bellmer - Madame Edwarda

Original 1965
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Lot number: 714
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MADAME EDWARDA Hans BELLMER an illustrated book containing 12 drypoints and burins with text by Georges BATAILLE, DENOEL 51-56, 1965, book size 38.3x25cm, all signed, numbered ed."118" from 150 regular copies out of total edition of 167 on the justification page, published by Georges Visat, with an original case.
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