“That composition made up of a head and one hand, both mummified; the way the hand is placed and the endless spark produced by the proximity of the teeth and the nail describe a suspended, buzzing world, torn between conflicting poles of attraction.”
—André Breton
The photograph offered here was once in the possession of André Breton whom Manuel Álvarez Bravo first met at the home of Diego Rivera in Coyoácan during Breton’s first visit to Mexico in 1938. An enduring enthusiast in Mexican art and culture, Breton espoused the country as the “Surrealist place par excellence.” He selected several of Álvarez Bravo’s photographs for inclusion in his 1939 exhibition of Mexican art, Mexique, in Paris and the International Exhibition of Surrealism in Mexico City in 1940. Breton was particularly fascinated with Álvarez Bravo’s ability to capture mysterious juxtapositions like the intersection of life and death, as in the expressive form of the mummy in Retrato Póstumo.
Phillips is honored to present a selection of artwork from the collection of pioneering gallerists Eugene and Dorothy Prakapas. Proceeds from their outstanding collection will benefit the Eugene and Dorothy Prakapas Scholarship Fund at Yale University in memory of Thomas C. Mendenhall. Gene’s attendance at Yale in 1949 was made possible by a scholarship, and it was his and Dorothy’s intent that the sale of artwork from their estate would support scholars of the future.
Gene (1932-2011) and Dorothy (1928-2022) founded Prakapas Gallery at 19 East 71st Street, New York City, in 1976. The gallery quickly became known for its adventurous curatorial approach and for showing a diverse range of artists and media. The couple set a demanding pace for themselves, mounting a new exhibition every four weeks, and keeping an ever-changing array of painting, photography, and works-on-paper on the gallery walls. Photography, especially work connected to the Bauhaus, was a particular interest of the Prakapases, and the broad theme of European Modernism threaded its way through many of their shows. Operating on a shoestring budget, the couple sought out little-known artists and underrepresented aspects of well-known artists’ oeuvres for their exhibitions. Gallery favorites included László Moholy-Nagy, Fernand Léger, Willi Baumeister, Albert Renger-Patzsch, and Werner Mantz, among many others.
Both Gene and Dorothy came to the art world after having pursued successful careers in other arenas. Gene worked in publishing after graduating Yale, served in the Navy, and later pursued graduate studies at Oxford, which he attended on a Fulbright scholarship. Dorothy was educated at City University of New York and the Fashion Institute of Technology and worked in the fashion industry. Together, they made Prakapas Gallery into a mecca for collectors on the hunt for material that could not be found elsewhere, the esoteric and the avant-garde across all media, selected and contextualized with intelligence and warmth.
“Galleries that are powered by a completely idiosyncratic taste and with no regard for current fashion do not always live long. So it is good to see from their 10th anniversary miscellany that Eugene and Dorothy Prakapas are just as quirky as ever they were.”
—John Russell, The New York Times
1939 Gelatin silver print. 9 1/8 x 7 in. (23.2 x 17.8 cm) Credited and annotated 'Momie post-colombienne, Guanajuato' by André Breton in ink and annotated in an unidentified hand in pencil on the verso.