Hans Bellmer: Drawings, Photographs

exhibition checklist (clockwise from front of gallery)
Hans Bellm e r: D r awings, Photog r aphs & Engr avings
1.
Rose ou verte la nuit or Ecorché, 1948
Original etching with an heliogravure base
29.5 x 19.5 cm
Edition of 100
Signed and numbered 27/100
Paris: Editions André-François Petit, 1966
Literature and notes:
This work, which is based on a 1941 drawing, is illustrated in several books, including in André
Pieyre de Mandiargues, Hans Bellmer: Oeuvre Gravé (catalogue raisonné), Paris: Denoël, 1969, p. 62;
and in Bellmer, “Obliques,” numéro special, Nyons: Obliques, 1979, p. 115.
2.
Madame Edwarda, 1955/65
Original etching with dry-point
Signed
8 1/16 x 4 1/8 inches (18.5 x 8 cm)
Edition of 150 +XVII
Paris: Editions Georges Visat, 1965
Literature and notes:
This etching is part of a series of 12 produced for Pierre Angélique’s
(pseudonym of Georges Bataille) Madame Edwarda. This etching is n° 4 in the series. It is illustrated
in several books, including in André Pieyre de Mandiargues, Hans Bellmer: Oeuvre Gravé (catalogue
raisonné), Paris: Denoël, 1969, p. 52; in Sarane Alexandrian, Hans Bellmer, Paris: Editions
Filipacchi, 1971, p. 70; in Obliques / Bellmer, numéro special, Paris: Roger Borderie, 1975, p. 215; and
in Pierre Dourthe, Hans Bellmer: Le Principe de Perversion, Paris: Jean-Pierre Faur, 1999, n° 252, p.
199.
3.
Bottines, 1951
Original lithograph in two colors
15 1/8 x 11 inches (38.5 x 28 cm)
Signed and numbered 16/60.
Self-published
Literature and notes:
This work is illustrated in several books, including in André Pieyre de
Mandiargues, Hans Bellmer: Oeuvre Gravé (catalogue raisonné), Paris: Denoël, 1969, p. 22; and in
Bellmer, “Obliques,” numéro special, Nyons: Obliques, 1979, p. 149.
Bellmer also made a painting version of the same subject, 1949/50.
4.
Le Chapeau-main (the hat-hand), 1947
Two-color lithograph with an heliogravure base
Printed signature
9 7/16 x 6 5/8 inches (24 x 17 cm)
Edition of 999
Paris: Editions Pierre à Feu, Maeght Editeur
Literature and notes:
This print, which is based on a pencil and gouache drawing, was included in the Exposition
Internationale du Surréalisme catalogue accompanying the Galerie Maeght exhibition. It is
illustrated in several books, including in Bellmer, “Obliques,” numéro special, Nyons: Obliques,
1979, p. 164.
5.
Céphalopodes , 1950
Original lithograph in three colors
14 ⇠ x 11 (37.5 x 28 cm)
Signed and numbered 23/60
Self-published in 1952
Edition of 60
Literature and notes:
The compressed, curvilinear figure in this engraving is one of Bellmer’s cephalopds, beings with little
more than heads and legs that were one of his favorite varieties of composite females and appeared
throughout the artist’s career beginning in the late thirties. In this work, Bellmer’s line and graphic
impulse are expressed at their purest, capturing the body and fluidly reconfiguring its “true”
contents according to the laws of desire. In The Anatomy of the Image, the artist writes that “the body is
comparable to a sentence that invites you to disarticulate it, for the purpose of recombining its actual
contents through a series of endless anagrams.”
This work is illustrated in several books, including in André Pieyre de Mandiargues, Hans Bellmer:
Oeuvre Gravé (catalogue raisonné), Paris: Denoël, 1969, p. 25; and in Robert C. Morgan & Timothy
Baum, Hans Bellmer Miscellany, Malmö: Anders Malmberg, 1993, p. 71.
6.
Les Jeux de la Poupée: la Poupée enceinte (Frontispiece), 1937/49
Vintage hand-colored gelatin silver print photograph
5 3/8 x 5 ¼ inches (13.5 x 14 cm)
Literature and notes:
This photograph is the frontispiece in Les Jeux de la Poupée,
Paris: les Editions Première (Heinz Berggruen), 1949, p.27. Introduction by Hans Bellmer, 15
hand-colored original photographs by Hans Bellmer, with prose poems by Paul Eluard
accompanying each work: edition of 136.
Other versions illustrated in numerous books and catalogues.
7.
Les Jeux de la Poupée, 1937/1949
Vintage hand-colored gelatin silver print photograph
5 ¼ x 5 ¼ inches (14 x 14 cm)
Literature and notes:
This is the 5th photograph in Les Jeux de la Poupée,
Paris: les Editions Première (Heinz Berggruen), 1949, p. 47. Introduction by Hans Bellmer, 15
hand-colored original photographs by Hans Bellmer, with prose poems by Paul Eluard
accompanying each work: edition of 136+6.
“Gonflanat ses joues, gourmande, avalant une fleur, odorante peau intérieure.
Bouche forcément rose, meme au fronton de la forêt toute noire.”
(“Puffing out her cheeks, greedy, swallowing a flower, fragrant inner skin.
Mouth of necessity pink, even on the gable of the darkest black forest.”)
Other versions illustrated in numerous books and catalogues, including Alain Sayag, Hans Bellmer:
Photographe, Paris: Editions Filipacchi/Centre George Pompidou, 1983, another example ill. p. 84;
Die Puppe, Hans Bellmer: Die Puppe, die Spiele der Puppe, die Anatomie des Bildes, Berlin: Gerhardt Verlag,
1962, another example ill. p. 79; Jean-Charles Gateau, Paul Eluard et la peinture surréaliste, Geneva:
Droz, 1982, another example ill. p. 329; Bellmer, “Obliques,” numéro special, Nyons: Obliques,
1979, another example ill. p. 100; Hans Bellmer: The Doll, Tokyo: Treville Co. Ltd, 1995, another
example ill. p. 51; Hans Bellmer: Anatomy of Desire (exhibition catalogue), Paris: Editions
Gallimard/Centre Georges Pompidou, 2006, another example ill. p. 100; Messages II, 1939,
another example ill.; Edouard Jaguer, Le surréalisme et la photographie, Paris: Flammarion, 1982,
another example ill. p. 89; Robert C. Morgan & Timothy Baum, Hans Bellmer Miscellany, Malmö:
Anders Malmberg, 1993, another example ill. p. 53; and Whitney Chadwick, “Eros or Thanatos, the
surrealist cult of love reexamined,” Artforum, Sept. 1975, another example ill. p. 50.
8.
Les Jeux de la Poupée, L’attente latente, 1936/1949
Vintage hand-colored gelatin silver print photograph
5 ¼ x 5 ¼ inches (14 x 14 cm)
Literature and notes:
This is the 11th photograph in Les Jeux de la Poupée,
Paris: les Editions Première (Heinz Berggruen), 1949, p. 71. Introduction by Hans Bellmer, 15
hand-colored original photographs by Hans Bellmer, with prose poems by Paul Eluard
accompanying each work: edition of 136.
“L’hiver, à cinq heures du matin, elle se levait et, à peine vêtue, allait ramasser du bois mort. Elle aurait pu mourrir
de la pitié qu’elle éprouvait pour elle-même.
Paille mêlée au grain, fumée mêlée au feu, pitié mêlée au mal.”
(“In the winter at five in the morning she got up and, scarcely dressed, went out to gather dead wood. She could
have died for the pity she felt for herself.
VARIATION:
Straw mixed with grain, smoke mixed with fire, pity mixed with pain”)
Other versions illustrated in numerous books and catalogues.
9.
Les Jeux de la Poupée, 1935
Black and white gelatin silver print photograph
5 ¼ x 5 ¼ inches (14 x 13.5 cm)
Literature and notes:
This photograph is illustrated in Therese Lichtenstein,
Behind Closed Doors: The Art of Hans Bellmer, Berkeley: University of California Press, 2001, p. 78; and
in Hans Bellmer: The Doll, Tokyo: Treville Co. Ltd, 1995, p. 7.
The hand-colored version of this photograph is illustrated in Alain Sayak, Hans Bellmer: Photographe,
Paris: Editions Filipacchi/Centre George Pompidou, 1983, p. 77.
10.
Untitled (color circles), circa 1938
Watercolor and pencil on paper
9 ⇠ x 6 ¼ inches (24 ⇠ x 16 cm)
Exhibited:
Hans Bellmer: Photographs & Drawings from the 1930s, Ubu Gallery,
New York, March 20 – May 1, 1999 and Galerie Berinson, Berlin, March 8
- May 6, 2000. Drawing Out of The Void: Hans Bellmer, Pavel Tchelitchew, Steve
DiBenedetto & Pieter Schoolwerth, Vestry Arts, Inc., New York, March 10 – May 15, 2004, n° 2.
Literature and notes:
This watercolor was made for Elise (Lizica) Codreano, a Romanian avant-garde dancer in the Paris
circle of Erik Satie and Darius Milhaud and a lover of Bellmer’s from mid-1938 through mid-1939.
It is illustrated in color in Miguel Abreu, Drawing Out of The Void: Hans Bellmer, Pavel Tchelitchew, Steve
DiBenedetto & Pieter Schoolwerth (exhibition catalogue), New York: Vestry Arts, Inc., no. 2, p. 17.
11.
Untitled (Sade) 1946
Graphite and white gouche on paper
5 ⇠ x 3 ⇠ inches
Literature and notes:
This work is illustrated in Constantin Jelenski, The Drawings of Hans Bellmer,
New York: St. Martin’s Press, 1973, p.51. A negative image engraving based
on this drawing is illustrated in Bellmer, “Obliques,” numéro special, Nyons:
Obliques, 1979, p. 194. The first edition of Bellmer “Obliques” included the positive engraving, 1974,
Nyons: Editions Roger Borderie, 1975, edition of 99 + XXXIX.
12.
Head of Man, 1945
Graphite and white gouache on tinted paper
Signed and dated “Bellmer 1945” lower right
8 1/8 x 7 1/4 inches (20.8 x 18.4 cm)
Literature and notes:
The sitter for this work remains unknown. The drawing was probably executed
in South of France where Bellmer was interned and lived during World War
II and for a few years after.
13.
Untitled (figures scribbling), circa 1953
Ink on paper
7 5/8 x 4 15/16 inches (19.5 x 12.5 cm)
Literature and notes:
This drawing is part of a series of preparatory drawings Bellmer made
for l’Anglais décrit dans le château fermé by André Pieyre de Mandiargues
(unpublished). A selection of 7 drawings were finally engraved for Mode d’Emplois, 1953/67, Paris:
Editions Georges Visat, 1967, edition of 150.
14.
Untitled (la toupie), 1954
Graphite on paper
Signed and dated
7 7/8 x 3 ⇠ inches (20 x 12 cm)
Literature and notes:
This work is part of a series of at least 5 drawings and paintings Bellmer
made with the motifs of a spinning top surrounded by girls with multiple legs
and striped stockings.
An original engraving related to this drawing, titled La Toupie, was produced in 1963 and is
illustrated in André Pieyre de Mandiargues; and in Hans Bellmer: Oeuvre Gravé (catalogue raisonné),
Paris: Denoël, 1969, p. 45.
An etching based on this work, titled Fille aux bas rayés (1970), was executed by Cécile Reims-Deux in
collaboration with Hans Bellmer, Berlin: Editions Propyläen, 1973, edition 0f 85 + 85.
15.
Untitled (drawing for Madame Edwarda by Pierre Angélique, pseudonym of
Georges Bataille), 1955
Graphite on paper
Signed and dated
8 1/16 x 4 1/8 inches (20.5 x 10.5 cm)
Literature and notes:
An engraving based on this drawing, part of a series of 12, was produced for
Georges Bataille’s Madame Edwarda. The engraving, n° 2in the series, is illustrated in
several books, including in André Pieyre de Mandiargues, Hans Bellmer: Oeuvre Gravé
(catalogue raisonné), Paris: Denoël, 1969, p. 52.
16.
La Chaise Napoleon III , 1957
Graphite on paper
Signed and dated
4 5/16 x 3 15/16 inches (11 x 10 cm)
Literature and notes:
Constantin Jelenski, The Drawings of Hans Bellmer, New York: St. Martin’s
Press, 1973, illustrated p. 94. An etching based on this work, titled Nu sur
une Chaise Rayée (Petite variante de la chaise Napoleon III), was executed by Cécile Reims-Deux in
collaboration with Hans Bellmer, edition 0f 85 + 85, Berlin: Editions Propyläen, 1972. It is
illustrated in Bellmer Graveur (exhibition catalogue), Paris: Musée-Galerie de la Seita, 1997, p. 66.
The final 1959 version of this drawing (44.2 x 32 cm), in MNAM collection, is included in the
current traveling retrospective, Hans Bellmer: Anatomy of Desire, organized by the Centre Georges
Pompidou, Paris. The work is illustrated in color in the exhibition catalogue, Paris: Editions
Gallimard/Centre Georges Pompidou, 2006, p. 199, n° 192. It is also illustrated in Donations Daniel
Cordier: Le Regard d’un Amateur, Paris: Editions du Centre Georges Pompidou, 1989, p. 53, and in Jan
Martinet, Hans Bellmer: Tekeningen, Amsterdam: Stedelijk Museum, 1970, n° 18, illustrated p. 15;
and in Peter Webb & Robert Short, Hans Bellmer, London: Quartet Books, 1985, p.230. A gouache
version of this work from 1956, titled La Petite Chaise Napoleon III (65 x 65 cm), ex-Krugier collection,
is illustrated in Dr. Wieland Schmied, ed., Hans Bellmer: Zeichnungen und Graphik, Hannover:
Kestner-Gesellschaft, 1967, n° 98 and in Sarane Alexandrian, Hans Bellmer, Paris: Editions Filipacchi,
1971, illustrated p. 79.
A variation of this drawing was the basis for one of Bellmer’s color engravings executed to illustrate
Heinrich von Kleist Les Marionnettes, Paris: Georges Visat, 1969, edition of 175.
17.
Untitled (céphalopodes - mosaic), 1957
Graphite on paper
Signed and dated 1957
4 5/16 x 4 1/8 inches (11 x 10,5 cm)
Literature and notes:
An etching with dry-point based on this work, titled Le Parquet (1969/70),
was executed by Cécile Reims-Deux in collaboration with Hans Bellmer,
Anstalt, Switzerland: Grafik Europa, Berlin, 1969/70 and Berlin: Editions Propyläen, 1973.
It is illustrated in Bellmer Graveur (exhibition catalogue), Paris: Musée-Galerie de la Seita, 1997, p. 69.
A painting based on this drawing, Untitled (Céphalopodes), 1958, is included in the Hans Bellmer:
Anatomie du Désir retrospective and illustrated in the catalogue, Paris: Editions Gallimard/Centre
Georges Pompidou, 2006, a painting based on this drawing, Untitled n° 186.
18.
Untitled (multi-pelvis skeleton), 1960
Graphite on paper
Signed and dated 1960
8 1/4 x 7 1/2 inches (21 x 19 cm)
19.
Untitled (skull-phallus & red shoes), 1961
Graphite and color pencil on paper
Signed and dated 1961
8 1/4 x 6 5/8 inches (21 x 17 cm)
Literature and notes:
Another version of this drawing is illustrated full page and in color in Pierre
Dourthe, Hans Bellmer: Le Principe de Perversion, Paris: Jean-Pierre Faur
éditeur, 1999, no. 350, p. 263; in Sarane Alexandrian, Hans Bellmer, Paris:
Editions Filipacchi, 1971, illustrated in color p. 31; and in Bellmer, “Obliques,” numéro special, Nyons:
Obliques, 1979, p. 275. This same work is included in the current traveling retrospective, Hans Bellmer:
Anatomy of Desire, organized by the Centre Georges Pompidou, Paris, and is illustrated in color in the
exhibition catalogue, Paris: Editions Gallimard/Centre Georges Pompidou, 2006, p. 58, n° 212. Yet
another version of this drawing is illustrated in Dr. Wieland Schmied, ed., Hans Bellmer: Zeichnungen
und Graphik, Hannover: Kestner-Gesellschaft, 1967, (Galerie Thomas, Munich – advertisement p.
126).
20.
Untitled (femme phallus), 1961
Pencil and color pencil on paper
Signed and dated 1961
7 15/16 x 7 1/16 inches (20 x 18.5 cm)
Literature and notes:
Final version of this drawing also from 1961 in MNAM collection (65.7 x 49.6
cm), illustrated in color in Constantin Jelenski, The Drawings of Hans Bellmer,
New York: St. Martin’s Press, 1973, illustrated p.86; and in Donations Daniel Cordier: Le Regard d’un
Amateur, Paris: Editions du Centre Georges Pompidou, 1989, p.58.
21.
Untitled (head & red stripes), 1961
Graphite and color pencil on paper
Signed and dated
8 1/4 x 5 3/8 inches (21 x 13.5 cm)
Literature and notes:
This drawing pays homage to the work of Giuseppe Arcimboldo (1527-1593),
an artist Bellmer much admired. Some of the motifs in the work also relate to a
series of drawings and etchings Bellmer made for Heinrich von Kleist’s Les
Marionettes. The book, published in 1969 by Georges Visat, Paris (edition of 175), includes 11 etchings
printed in color, 1 frontispiece and 10 hors-texte by Bellmer.
Another version of this drawing is illustrated full page and in color in André Pieyre de Mandiargues, Le
Trésor Cruel de Hans Bellmer, Paris: Editions Le Sphinx, 1979, p.120. A painting variation on the subject
in illustrated in color in Hans Bellmer, CNAC Archives, nouvelle série, November 1971, pp.56-57.
An etching with dry-point based on this work, titled Tête (1972), was executed by Cécile Reims-Deux
in collaboration with Hans Bellmer, Berlin: Editions Propyläen, 1973, edition of 85 (Japon).
22.
Untitled (the eyes), 1961
Graphite and white gouache on tinted paper
Signed and dated
18 ½ x 19 1/4 inches (47 x 49 cm)
Exhibited:
Bellmer, Centre National d’Art Contemporain, Paris, 1971, n°141.
Literature and notes:
The woman’s head in this drawing is that of one of Bellmer’s twin
daughters, Béatrice, whom the artist had not seen in 20 years when
he drew her here. Beneath it on the left, the man’s disfigured face is a variation of the old man’s head
Bellmer drew and painted several times throughout his career. Titles for these works range from
L’inspecteur de la brigade des moeurs et coutumes (Inspector of the Vice Brigade), a 1946 drawing, to Portrait of
My Father, a painting from 1958. The head is also the subject of the 1st in the series of 10 two-color
etchings Bellmer made for A Sade, Paris: Alain Mazo, 1961, edition of 50 (published anonymously).
An etching based on this work, titled Béatrice or The Mutilated Gaze, was executed by Cécile ReimsDeux in collaboration with Hans Bellmer, edition of 100 + 50, Paris: Editions André-François
Petit, 1969.
In Sarane Alexandrian, Hans Bellmer, Paris: Editions Filipacchi, 1971, another quite different version
of Les Yeux illustrated pp. 14-15. Same version illustrated in Jan Martinet, Hans Bellmer: Tekeningen,
Amsterdam: Stedelijk Museum, 1970, n° 39, illustrated p. 24. Yet another version is illustrated in
color in Dr. Wieland Schmied, ed., Hans Bellmer: Zeichnungen und Graphik, Hannover: KestnerGesellschaft, 1967, n°. 137; and in Bellmer, “Obliques,” numéro special, Nyons: Obliques, 1979, p.
172. Yet another version is illustrated in Pierre Dourthe, Hans Bellmer: Le Principe de Perversion, Paris:
Jean-Pierre Faur éditeur, 1999, n° 239, p. 189.
23.
Hermaphrodite, 1959
Graphite and white gouache on tinted paper
Signed and dated
16 ½ x 11 7/16 inches (42 x 29 cm)
Exhibited:
Bellmer, Centre National d’Art Contemporain, Paris, 1971, n°116
Literature and notes:
An etching with dry-point based on this work, titled Les Fausses Jumellese, was
executed by Cécile Reims-Deux in collaboration with Hans Bellmer, edition
of 100, Paris: Editions Georges Visat, 1969.
This work is illustrated in color in Constantin Jelenski, The Drawings of Hans Bellmer, New York: St.
Martin’s Press, 1973, p. 77.
24.
Untitled (skeleton table), 1958
Graphite on paper
Signed
6 ½ x 4 ¼ inches (16.5 x 10.8 cm)
25.
Untitled (figure on chair), 1960
Graphite on paper
Signed
8 ½ x 6 ½ inches (21.6 x 16.5 cm)Literature and notes:
An etching based on this work, titled Idée sur les Romans, was executed by Cécile
Reims-Deux in collaboration with Hans Bellmer, Paris: Editions Georges Visat,
1969, edition of 100.
26.
Untitled (les crimes de l’amour - Le sens commun), 1961
Charcoal, graphite and white gouache on tinted paper
Signed and dated
25 5/8 x 19 5/8 inches (65 x 50 cm)
Literature and notes:
This drawing partly expresses Bellmer’s fascination with the
multi-breasted Diana Of Ephesus, Goddess of the Amazons.
Ancient worship focused on the nature goddesses Isis-IshtarInanna and called Her Queen of Heaven. By Roman times she is
called Diana; yet at Ephesus in Anatolia Her worship was most
profound under the names Mother of Animals, or Many-Breasted
Artemis. Columnar, wearing a unique ritual garment adorned with animals, her crown and staring
gaze incorporate Astarte, while Her moon disc and horned beasts evoke Diana. Her temple built by
Amazons (undoubtedly matrilineal priestesses), was one of the wonders of the ancient world, a goal
of devout pilgrimage. In AD 380 her shrine was rededicated to Mary, whose old age and death
Church legend placed at Ephesus. According to Greek Pagan tradition, Artemis Diana of Ephesus
has declared Herself "No one has lifted my veil." It is a question not exactly of the veil, but of the
garments which cover Her female nakedness. The veil is a later misinterpretation for the sake of
decency. The meaning is: "I am the Mother without spouse, the Original Mother; all are my
children, and therefore none has ever dared to approach me; the impudent one who attempts it
shames the Mother — and that is the reason for the curse."(from Sir James George Frazer, The Golden
Bough, New York: Macmillan, 1922).
Other drawings executed throughout Bellmer’s career as well as the sculpture, The Top, similarly
relate to this subject (see Peter Webb, Hans Bellmer, p. 101). The work also relates to the 4th etching in
the A Sade suite, Paris: Alain Mazo, 1961, published anonymously.
Sarane Alexandrian, Hans Bellmer, Paris: Editions Filipacchi, 1971, illustrated p. 27. Constantin
Jelenski, The Drawings of Hans Bellmer, New York: St. Martin’s Press, 1973, another 1961 version of Les
Crimes de l’Amour - Le Sens Commun, in the Musée National d’Art Moderne collection, is reproduced on
the cover of this book as well as illustrated p. 80 (same dimensions). This version also illustrated in
color in Donations Daniel Cordier: Le Regard d’un Amateur, Paris: Editions du Centre Georges Pompidou,
1989, p. 59; in Jan Martinet, Hans Bellmer: Tekeningen, Amsterdam: Stedelijk Museum, 1970, n°37,
illustrated p. 23, and in Hans Bellmer, “Cnacarchives,” Paris: Centre National d’Art Contemporain,
1971, p. 78.
A multi-color aquatint engraving based on this work, titled Le Bon Sens, was executed in 1964. It is
illustrated in color in Bellmer Graveur (exhibition catalogue), Paris: Musée-Galerie de la Seita, 1997,
p. 36; in Dr. Wieland Schmied, ed., Hans Bellmer: Zeichnungen und Graphik, Hannover: KestnerGesellschaft, 1967, n° 40; in Peter Webb & Robert Short, Hans Bellmer, London: Quartet Books, 1985,
color plate xxxii, p. 151; and in Pierre Dourthe, Hans Bellmer: Le Principe de Perversion, Paris: JeanPierre Faur éditeur, 1999, no. 296, p. 230.
27.
Untitled (two girls), 1958
Graphite and white gouache on tinted paper
Signed and dated
13 x 17 ⇠ inches (33 x 45 cm)
Literature and notes:
This work is illustrated in Jan Martinet, Hans Bellmer: Tekeningen,
Amsterdam: Stedelijk Museum, 1970, n° 16, p. 12. Another
version, in MNAM collection, n° 17, another version illustrated
p. 13 (43.3 x 31.8 cm); also illustrated in color in Donations Daniel Cordier: Le Regard d’un Amateur, Paris:
Editions du Centre Georges Pompidou, 1989, p. 51; in Constantin Jelenski, The Drawings of Hans
Bellmer, New York: St. Martin’s Press, 1973, p. 79; and in Bellmer, “Obliques,” numéro special, Nyons:
Obliques, 1979, p. 180.
An etching on brass plate based on this work, titled Analogie 5, Les Deux Soeurs (part of a series of 5
engravings), was executed by Cécile Reims-Deux in collaboration with Hans Bellmer, Berlin:
Reinhard Braun, circa 1971, edition of 70 + 70.
28.
Untitled (café scene), 1958
Graphite on paper,
Signed and dated
7 7/8 x 5 15/16 inches (20 x 15.5 cm)
Literature and notes:
Illustrated full page in André Pieyre de Mandiargues, Le Trésor Cruel de Hans
Bellmer, Paris: Editions Le Sphinx, 1979, p.165.
An etching based on this work, titled Au Café, was produced in 1972 and is illustrated in Bellmer
Graveur (exhibition catalogue), Paris: Musée-Galerie de la Seita, 1997, p.67.
29.
Untitled (skeleton), 1959
Graphite on paper
Signed and dated ’59
8 5/8 x 6 ¼ inches (22 x 16 cm)
Literature and notes:
Illustrated full page in André Pieyre de Mandiargues, Le Trésor Cruel de Hans
Bellmer, Paris: Editions Le Sphinx, 1979, p.171.
The final version of this drawing is reproduced in Miguel Abreu, Drawing Out
of the Void: Hans Bellmer, Pavel Tchelitchew, Steve DiBenedetto & Pietre Schoolwerth, New York: Vestry Arts,
Inc., 2004, no.10, p.25.
An etching based on this work, titled Tables et Squelettes, was executed by Cécile Reims-Deux in
collaboration with Hans Bellmer, 1970, Berlin: Edition Propyläen, 1973. It is illustrated in Bellmer
Graveur (exhibition catalogue), Paris: Musée Galerie de la Seita, 1997, p.65.
30.
Céphalopode Double, 1965
Etching
15 ⇠ x 17 inches (40.1 x 43.2 cm)
Artist proof
Edition of 100
Paris: Editions Andre-Francois Petit, 1965
Literature and notes:
This work is illustrated in several books, including in Bellmer, “Obliques,”
numéro special, Nyons: Obliques, 1979, p. 254. The positive version of this etching is illustrated in
André Pieyre de Mandiargues, Hans Bellmer: Oeuvre Gravé (catalogue raisonné), Paris: Denoël, 1969,
p. 61. A pencil drawing of the subject illustrated in Constantin Jelenski, The Drawing of Hans Bellmer,
New York: St. Martin’s Press, 1973, p.73.