Vintage Photography September 2010

Vintage Photography September 2010

www.anamorfose.be

Alfred Fauvarque-Omez

Fauvarque‐Omez was originally from Roubaix, which is a city of northern France near the cities of

Lille and Tourcoing close to the Belgian border. There he studied at the Institution Notre‐Dame des

Victories, where he apparently did very poorly and was forced to quit and return to a life raising

chickens. But he seemed to refuse to relinquish a life in the arts and, in 1928, became president of his

local photography society in Roubaix.

As president, he solicited and exhibited the work of Alexander Keighley, Robert Demachy, Pierre

Dubreuil, Frantisek Drtikol, Constant Puyo and other important pictorialists. He was a friend of

Leonard Misonne, the famed Belgium pictorialist, and emulated his style and processes in the 1920s

and 1930s. Fauvarque‐Omezʹs early images are usually bromoils and bromoil transfers and are

pictorialist in style.

Early images were typically old city streets, genre, harbor scenes and landscapes. His later works,

which were silver prints, reflected a more modernist eye and the changes in the scenery of northern

France: quiet fishing villages and farming communities gave way to low‐angled shots of electrical

pylons and distorted roller coasters. He appears to have maintained his amateur status and was an

active participant in the European photo salons from the early 1920s right up until his death in 1958.

He exhibited in France, Belgium and Algeria. Fauvarque‐Omez was a member of the Federation

Nationale des Societies Photographiques de France, where he often exhibited. His photographs were

published in the ʺTouring‐Club de Franceʺ, ʺLa Revue Française de Photographie et de

Cinématographieʺ (of Paul Montel) and ʺLa Coupe de Franceʺ, among many other magazines and

journals.

There has been a recent museum exhibit of his work with a small pamphlet on his photography.

Fauvarque‐Omez is listed in the Auer & Auer and George Eastman House databases. A short

biography (in French) and two of his photographs were published in ʺR. Topffer, C. Pyo: De lʹArt et

du Daguerreotypeʺ. (Source: Alex Novak)


Bord de l’Escaut (Audenaerde), (id 4093,0)+/- 1950, FranceBromoilExcellent28,5 X 21,5 cm550,0 Euro


Cathedrale à Tournai - Vers le transept, (id 4094,0)1948, FranceVintage silver printExcellent24,0 X 25,7 cm500,0 Euro

Four printed exhibition labels on the back: Coupe de Francede Photographie - 1948, Amicale-Photo Roubaix - 1949,Photo-Club de Clichy - 1950, Federation des societesPhotographiques de France


Chevet de St Nectaire, (id 4099,0)1950, FranceBromoilExcellent27,7 X 20,2 cm550,0 Euro


Environs de bouvines, (id 4095,0)22/09/1946, FranceBromoilExcellent20,4 X 30,0 cm500,0 Euro


Le Pilier Blanc, (id 4097,0)1935, FranceBromoilExcellent30,4 X 23,5 cm550,0 Euro


Paysage au Jura, (id 4098,0)1950, FranceBromoilExcellent28,0 X 37,9 cm550,0 Euro

Printed exhibition label on the back: Societe Photographiqueet Cinematographique de Picardie - 1950.


Untitled, (id 4096,0)+/- 1950, FranceBromoilGood29,5 X 23,0 cm300,0 Euro

A. Polus

A. Polus was a Belgian amateur photographer and member of the Royal Photo Club Liègeois.

He was active in the 1930’s and the 1940’s.

He often made his high quality prints on the prestigious Gevaluxe paper.

Gevaluxe is a sliver bromide paper which because of its distinctive surface is quite different from any

other bromide paper. This surface is made up of a close network of minute fibres, like a velvet fabric,

which, in fact, it closely resembles. (The manufacturing process has been patented in all countries.)

The advantage of this surface lies in the almost complete elimination of the specular reflection peculiar

to glossy prints, and of the slight veil of diffused light which restricts the depth of the blacks in matt

papers. Only the light reflected by the image reaches the eye. The emulsion of Gevaluxe possesses

properties which when combined with those of its surface yield images of superb gradation, with

blacks attaining a depth as rich as that of black velvet. The stereoscopic effect thus produced is quite

remarkable, and cannot be achieved with any other paper. Indeed, the term ʹthree dimensionalʹ has

been very aptly applied to Gevaluxe.

This velvet‐like surface has still further advantages. It hides to a large degree grain in the negative and

gives the picture an ʺunmistakable air of distinction and qualityʺ.

Many pictorial photographers consider Gevaluxe the perfect medium for the expression of artistic

conceptions

A. Polus

à la recherche de coquillages, (id 4088,0)+/- 1950, BelgiumVintage silver printVery Good17,2 X 21,7 cm300,0 Euro

A. Polus

au bord du chemin, (id 4084,0)+/- 1950, BelgiumGevaluxeVery Good17,0 X 23,7 cm350,0 Euro

A. Polus

Bien fraîs, (id 4089,0)+/- 1950, BelgiumVintage silver printVery Good22,9 X 17,0 cm300,0 Euro

A. Polus

Dans le froid, (id 4087,0)03/1947, BelgiumGevaluxeVery Good23,3 X 15,5 cm350,0 Euro

A. Polus

Fontaine hivernale, (id 4092,0)+/- 1950, BelgiumVintage silver printVery Good29,0 X 22,7 cm650,0 Euro

Beautiful large size print

A. Polus

fraîchement goudronné, (id 4083,0)1948, BelgiumVintage silver printVery Good17,0 X 23,3 cm350,0 Euro

A. Polus

haute tension, (id 4081,0)12/1947, BelgiumGevaluxeVery Good23,4 X 15,8 cm400,0 Euro

A. Polus

lignes, (id 4090,0)1954, BelgiumVintage silver printVery Good20,3 X 17,3 cm300,0 Euro

Label of the Royal Photo Club Liégeois on the back.

A. Polus

Plaisir de gosse, (id 4091,0)+/- 1950, BelgiumVintage silver printVery Good17,0 X 18,0 cm300,0 Euro

A. Polus

sillage, (id 4082,0)+/- 1950, BelgiumGevaluxeVery Good23,0 X 17,0 cm350,0 Euro

A. Polus

Sûreté!, (id 4086,0)+/- 1950, BelgiumVintage silver printVery Good23,4 X 17,0 cm300,0 Euro

A. Polus

vesprée, (id 4085,0)+/- 1950, BelgiumVintage silver printVery Good22,7 X 17,0 cm300,0 Euro

Various Photographers

Mostly large size vintage photos by Belgian amateur photographers from the 1930’s until the 1950’s.

C. Egger

Fantaisie, (id 4105,0)+/- 1950, BelgiumGevaluxeVery Good30,0 X 24,0 cm200,0 Euro

Emile Jansen

Nichée, (id 4100,0)1936, BelgiumVintage silver printExcellent29,7 X 23,1 cm200,0 Euro

Emile Jansen

Petit déjener, (id 4101,0)1938, BelgiumVintage silver printExcellent20,5 X 28,0 cm250,0 Euro

H. Pollaerts

No title, (id 4110,0)+/- 1950, BelgiumVintage silver printExcellent35,0 X 27,5 cm300,0 Euro

J. Dekais

Matin d’été, (id 4107,0)+/- 1945, BelgiumVintage silver printExcellent29,5 X 37,0 cm275,0 Euro

The photo is in excellent condition. The original mount is inpoor condition. It hasn’t any influence on the image quality.

Kaeye

Cinquantenaire, (id 4111,0)+/- 1950, BelgiumVintage silver printExcellent28,7 X 23,0 cm250,0 Euro

Photo “Le Document”, Bruxelles

Modernist building, (id 4112,0)+/- 1950, BelgiumVintage silver printExcellent39,5 X 12,7 cm300,0 Euro


R. G. Bruckner

Vers l’hivers, (id 4106,0)+/- 1940, FranceVintage silver printExcellent28,2 X 39,0 cm400,0 Euro

Raymond Berger

Béguinage Lier, (id 4103,0)+/- 1950, BelgiumVintage silver printExcellent34,3 X 29,5 cm350,0 Euro

Raymond Tibaut

L’orage, (id 4108,0)+/- 1945, BelgiumVintage silver printExcellent39,0 X 29,0 cm300,0 Euro


René Mottard

La conversation, (id 4104,0)+/- 1949, BelgiumVintage silver printExcellent28,8 X 22,7 cm200,0 Euro

René Mottard

Passage Souterain, (id 4113,0)1939, BelgiumVintage silver printExcellent27,5 X 2926,5 cm400,0 Euro

Printed exhibition label on the back: XXIV° Foto-Salon Foto-club Vooruit, Gent 1949

Unknown photographer

Church yard in the snow, (id 4102,0)1956, BelgiumVintage silver printExcellent23,6 X 17,8 cm200,0 Euro

Unknown photographer

Excursion, (id 4109,0)+/- 1950, BelgiumVintage silver printExcellent35,0 X 29,0 cm300,0 Euro


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Vintage Photography September 2010

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