Sabine Weiss - Homme de Nuit Illumant sa Cigarette, Paris
Sabine Weiss
Homme de Nuit Illumant sa Cigarette, Paris
Silver Gelatin Photograph
1950, printed later
image: 13 3/8 x 9 7/8 inches, paper: 16 x 12 inches

Signed on recto. Signed, titled and dated on verso.

Sabine Weiss - Amoureux et Femme Lisant (Lovers and woman reading)
Sabine Weiss
Amoureux et Femme Lisant (Lovers and woman reading)
Silver Gelatin Photograph
1985, printed later
16 x 20 inches

Signed on verso.

Sabine Weiss - Giacometti
Sabine Weiss
Giacometti
Silver Gelatin Photograph
1954, printed 2008
16 x 12 inches

Signed on verso

Sabine Weiss - La Petite Egyptienne
Sabine Weiss
La Petite Egyptienne
Silver Gelatin Photograph
1983, printed later
image: 9 3/8 x 14 inches, paper: 12 x 16 inches

Signed on recto. Signed, titled and dated on verso.

Sabine Weiss - Garçon Equilibrant sur ses Mains, (Boy Balancing on his Hands)
Sabine Weiss
Garçon Equilibrant sur ses Mains, (Boy Balancing on his Hands)
Silver Gelatin Photograph
1946, Printed Later
16 x 12 inches

Signed on verso.

Sabine Weiss - 2 Moines Balais (Two Monks Brushes)
Sabine Weiss
2 Moines Balais (Two Monks Brushes)
Silver Gelatin Photograph
1996
12 x 16 inches

Signed on verso

Sabine Weiss - 2 Femmes et Chien (Two Women and Dog)
Sabine Weiss
2 Femmes et Chien (Two Women and Dog)
Silver Gelatin Photograph
1954, Printed Later
16 x 12 inches

Signed on verso

For over sixty years, Sabine Weiss’s name has been synonymous with the seminal era of French Humanist photography. A living legend, Weiss’s images from 1950s Paris speak of a postwar time when a feeling of hope and joie de vivre could be felt in the people populating the city’s cafes, squares, streets, and in all corners throughout Paris. Weiss would photograph individuals going about their daily lives capturing their emotions and creating a style that combined spontaneity and informality, backed by photographer’s intuition and knack for seeing and celebrating the simple joys of life. As she said, “I take photographs to hold on to the ephemeral, capture chance, keep an image of something that will disappear: gestures, attitudes, objects that are reminders of our brief lives. The camera picks them up and freezes them at the very moment that they disappear. I love this constant dialogue between myself, my camera and my subject, which is what differentiates me from certain other photographers, who don’t seek this dialogue and prefer to distance themselves from their subject.”

Originally from Switzerland, Weiss moved to Paris in 1946 where she first assisted fashion photographer Willy Maywald learning much about composition and the technical aspects of photography. Her meeting with Robert Doisneau in 1952 in the offices of Vogue was decisive, as it led her to join the influential Rapho agency that would exhibit her work and she signed a nine-year contract as a Vogue photographer. During that period she would develop her permanent focus on humanity, making her one of the few reportage photographers whose work combined everyday poetry with sharp social observation. Weiss traveled the world and published a large number of reports in a range of magazines, such as Time, Life, Newsweek, Town and Country, and Paris Match. In 1955, Edward Steichen chose three of her photographs for the The Family of Man exhibition. Today she continues to exhibit her images at the age of 91.

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