Sale!!! Super RARE! Unique!!!!

Rene BURRI - Sao Paulo, Brazil 1960

Old Authentic Original Drawing Offset Print

Size: 19.8 cm x 13.2 cm

This is a print run controlled and validated on press by the client that the printer had archived as a color reference model and laminated to a support so that it can be preserved over time.

A wonderful testimony to traditional art printing

which unfortunately has completely disappeared today.

Remarkable print, close to a photograph, very bright, with beautiful density. Its rendering, contrast, its brightness, as well as its sharpness with sharp details, are absolutely magnificent.

Print made in 2003 by a former art printer

Archival model Printer two-tone printing enhanced with a glossy varnish

This previously unpublished Validation Print was found deep in an assembly workshop in the archives of a former art printing house, carefully preserved flat and protected from light. Although it is old with its 20 years of age, it remains in a good state of conservation. Some marks and traces of dirt on the back due to the printer's handling. However, the front is intact, in excellent condition and of extraordinary shine.

This old print comes from a first printing limited to a few copies in different tones, the customer selected one that he approved and validated as a “good to print” proof. It was kept by the printer and served as a color model for setting on the machine during reprints. When everything was compliant, the client signed the print which then became contractual, the client's approval committed the printer to obtaining an identical result for all the prints he had to produce.

Brazil, synonymous with a second homeland for René Burri, it was in São Paulo in 1960, a city ravaged by social conflicts, that he took this photograph where on the top of a building, black, flat silhouettes, without any detail, want to say much more than a well-lit face. An image in which he installs a geometry, the horizontal of the favelas which barely exceeds a few meters, that of the deprived which opposes it to the verticality of power, that of the skyscrapers, of the elite, it is a truth of four men walking on the terrace, with traffic below, as if at the bottom of a precipice, an indistinct crowd but made up of so much life rubbing shoulders.

“When I go to take photos, I never have a photo in mind, I sometimes look for an image for whole days, sometimes the light is not good, a detail has escaped me, it's difficult to get it right , but when everything is in front of me, it's like a player who scores a goal, in one click, it's grace. » René Burri

Equipped with his Leica which he calls his “Third Eye”, he is much more than a press photographer, he is a gatherer of icons, sensitive and committed, who perpetually transcends what he sees, reporting from all the corners of the world his artist's image-metaphors, moving from portrait to streetscape, from architecture to planetary conflicts. Its signature is elegance, harmony, a unique ability to recreate space and geometry, to always go beyond to offer a personal point of view.

He opens the way to author photography with shots that tell a story without ever becoming an anecdote. Coffee cups, against the light, immersed in the sun coming through the window of a house, such is the subject of his first photographs.

Far from being a stereotype of a great reporter, he tries to understand and give understanding, seeking more than the right distance, or the best framing, this small flaw in reality which remains in eternity, he is faithful to the grain of humanity, that of enriching life. He hardly bothers to faithfully reproduce reality, his objective is to create an illusion using sunlight.

“Everything that happens in life is movement, movement has so many directions. With a camera you can stop life for a moment. I used the device as a weapon, as a defense against time. » René Burri

Since the beginning of his career, for René Burri, photography is a passion where there is no big or small subject, it is a combination of patiently awaited circumstances, an emotional shock and sensations before the sensational, it is one of the photographers who imposed the photographic image, his eye is above all a brain.

He considers photography as a means of personal expression, a tool allowing him to show images which above all reflect his own concerns, unlike his mentor Henri Cartier-Bresson who captures the "decisive moment", he works more on the long term. His work is universal, assumes an aesthetic while delivering a message by contributing to building the iconographic memory of the twentieth century.

The power of his images celebrates everyday gestures as well as major moments in history, from the Suez crisis to the Cypriot conflict, from the Cuban revolution to the Cold War, he brings his incisive and inspired gaze all over the planet, he never expresses death and blood, no corpses in his war photos, it is the world, humanity that he wants to record.

He knows how to portray the city, the crowd, Brazil, Mexico, Cuba, communism, the war, integrating each of his shots into narrative sequences capable of telling History in motion, with art. to combine documentary acuity and aesthetic subtlety. This genius of photo-reportage manages to reach the reality of things, sometimes buried behind vague speeches, simply by a strong and pure image.

“When we really manage to capture the vibration of life, then we can speak of good photography. » René Burri

“One of these days I'll publish a book of all the photos I didn't take. It will be a huge success. » René Burri

René Burri (1933-2014) Swiss photographer, born in Zurich. In 1946, René Burri took his first photo of Winston Churchill with his father's camera. From 1949 to 1953, he studied at the School of Arts and Crafts in Zurich where he learned composition, color and design. He obtained a scholarship and learned how to use the “Bolex” camera by making a film about his school. A cinema lover, he filmed the visit of Edward Steichen, a famous photographer, then made his debut as an assistant cameraman at “Switzerland”, a production owned by Walt Disney. He then opened a studio with Walker Binder in 1954, before doing his military service in Switzerland, where he discovered the use of the Leica which he swapped with his Rolleiflex. He then turned to photography and was hired as a photographer in the workshop of Josef Müller-Brockmann, a famous graphic designer. He thus earns his living as a photojournalist with his “Third Eye”, the familiar name he gives to his Leica.

In the 1950s, he worked for major magazines and particularly for LIFE. Burri then photographed almost all the major events of the time: the Korean War then that of Vietnam, the Cuban crisis and Latin America, where he notably photographed Che Guevara and Fidel Castro, the economic and cultural upheavals in China , in South America or in Europe. He is a witness to history who wants to restore his own vision of the world. In 1955, he visited Le Corbusier's pilgrimage chapel in Ronchamp. This photographic essay will be published and will appear in “Paris Match”. Burri will take photos of his friend Jean Tinguely, a Swiss artist.

From 1956 to 1958, Burri traveled as a correspondent for the prestigious Magnum-Photos agency, of which he became a full member in 1959. During his numerous trips for the Magnum agency he developed a second passion: collage. During air travel, Burri begins to tear up the magazines around him and then recombines them. With brush, glue and paper, the documentarian becomes his own screenwriter. In 1962, he met Che Guevara in Cuba and painted a portrait of the latter smoking a cigar. This image became a true icon, just like those he created of Giacometti, Le Corbusier, Fidel Castro and Picasso. In 1982, he was elected president of Magnum France. in 1984, a first retrospective was devoted to him in Zurich, Paris and Lausanne, which presented his book “One World” 30 years of Photography. That same year he was elected president of Magnum Europe. The greatest reward was awarded to him in 1998, when he received the “Erich Salomon Prize” for his entire career as a photojournalist.

“My third eye is there to stick my nose where it is forbidden to put it!” » René Burri

Sale as is, no return.

Also please a look my sales list

thanks a lot to the following photographers

Edward Weston

Daido Moriyama

Araki

Josef Koudelka

Saul Leiter

Ray K Metzker

Paolo Roversi

Helmut Newton,

Henri Cartier-Bresson

Ernst Haas

Harry Gruyaert

Annie Leibovitz

Peter Lindbergh

Guy Bourdin

Richard Avedon

Herb Ritts,

Ellen Von Unwerth

Comme des Garçons

Rei Kawakubo

Irving Penn,

Bruce Weber,

Edward Steichen,

George Hoyningen-Huene,

Hiro,

Erwin Blumenfeld

Bruce Weber,

Alex Webb

Robert Frank

Issey Miyake

Robert Doisneau

Steve Hiett

Gueorgui Pinkhassov

Andy Warhol

Yayoi Kusama

Magnum photos

Harry Callahan

Andre Kertesz

Elliott Erwitt

Bruce Davidson

Guy Bourdin

Steven Meisel,

Martin Munkacsi

Mario Giacomelli

Bruce Gilden

Sebastiao Salgado

Sarah Moon