Madrid, Paris & Berlin, 2007-10, pp. 234, 237
Tokyo, 2010, no. 308-318
Londres, 2013, p. 174 (Juliette Greco), p. 177, p. 176 (Norma Copley)

 

These colour transparencies are generally in very good to excellent condition. One with light stains along the edges. One with light scratches mainly visible in raking light only. One with a tiny spot of retouching. The others with light traces of scratches visible in raking light only.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

I managed to transform the original transparency into a beautiful print, retaining the brilliance of the colors with the quality of a painting added.

In the late 1950s Man Ray embarked on a new period of experimentation, this time in the field of colour photography. The resulting works 𒁏enabled Man Ray to create a work of art from positive colour film, without the necessity of an enlargement print or projecti✱on. As few as 70 such colour images were made, and the examples offered here are likely the only remaining in private hands.

Man Ray's method consisted in slightly over-exposing a transparency to reduce its opacity that, once developed, was placed on a white ground or the reverse coated in white gouache, thereby allowing these colour images to be viewed easily without the use of a projector. "The status of the individuals invited to pose – for the most part pop stars and popular French screen actors: Yves Montand, Juliette Gréco, Annie Cordy, Line Renaud – is bound to imply that Man Ray was at this time intending to relaunch his career as a portraitist, recover the success of his early years in Paris and to derive a comfortable living from it." (Man Ray Portraits, 2010, p. 35)

"Although I had given up professional photography, my curiosity in the medium continued; at odd moments, I turned my attention to color photography. As a distraction I made some color portraits with the materials available, which gave satisfactory results as far as the diapositives against light were concerned, but any process involving the transfer to paper left much to be desired. After a series of trials I managed to transform the original transparency into a beautiful print, retaining the brilliance of the colors with the quality of a painting added. ... I was able to submit my idea to the heads of important manufacturers of color film in various countries, [but] it was rejected with the argument that the process could not be protected, that it could not be patented – that everyone could use it. ... I realized it could be of interest only as an original and for amateurs who wished to play with it." (Self Portrait, 1988, pp. 300-301)