Monument aux vivants, 1976
Monument aux vivants, 1976
Steel blades, hooks and lead
9.4 x 11.4 x 7.9 in
Unique artwork
Signé
Sans titre, Circa 1976
Sans titre, Circa 1976
Steel blade and lead
8.3 x 2.8 x 1.6 in
Unique artwork
Objet de prémonition, circa 1974
Objet de prémonition, circa 1974
Paint can, steel, lead leaf and painting
21.3 x 20.1 x 17.7 in
Unique artwork
Signé et daté
Couverture pour la revue Fin de siècle, 1974
Couverture pour la revue Fin de siècle, 1974
Leather binding (shark skin) adroned with steel nail and fish hooks (flyes)
10.6 x 15 in
Frame: 17,7 x 22 in
Unique artwork
Brûlure du ciel , 1978
Brûlure du ciel , 1978
Overlay papers (One is yellow and the other one is blue with burns)
27.6 x 39.4 in
Unique artwork
Signé et daté
Objet de prémonition, 1974 circa
Objet de prémonition, 1974 circa
Objets de prémonition
Paint can, scalpel blades, steel blades, lead leaf and paint
24 x 16.3 x 14.2 in
Unique artwork
Signé et daté
Objet de prémonition, 1974-1975
Objet de prémonition, 1974-1975
Wood, marble, knife blades and hooks
57.9 x 14.6 x 3.9 in
Unique artwork
Signé et daté
Sans titre, 1962
Sans titre, 1962
ink on paper
19.7 x 13.8 in
Unique artwork
Signé et daté
Sans titre, 1962
Sans titre, 1962
ink on paper
19.7 x 13.8 in
Unique artwork
Signé et daté
Sans titre, 1962
Sans titre, 1962
ink on paper
13.8 x 19.7 in (26.4 x 18.1 in with frame)
Unique artwork
Signé et daté
Du Pire Énerve, 1992
Du Pire Énerve, 1992
Watercolour and oil on lithography
Exemplaire N° 2/9
Signé et daté
Brûlure du ciel, 1978
Brûlure du ciel, 1978
Overlay papers (One is yellow and the other one is blue with burns)
25,2 x 38,2 inches
Unique artwork
Signé
Rurik Dmitrienko
Sans titre, 1984
Sans titre, 1984
Passant Luisant
Pastel and charcoal on paper
Unique artwork
Signé
Sans titre, 2000
Sans titre, 2000
Série Flüchtig
Mixed media on paper
Unique artwork
Signé
Sans titre, 2000
Sans titre, 2000
Série Flüchtig
Mixed media on paper
Unique artwork
Signé
Sans titre, 2001
Sans titre, 2001
Série Flüchtig
Technique mixte sur papier
Unique artwork
Signé et daté
C. Verte, 1995
C. Verte, 1995
Laiton, verre et béton
Unique artwork
Non signé
Croc de chienne, 1995
Croc de chienne, 1995
Concrete, glass and hammered iron
Unique artwork
Non signé
Verre atomique, circa 1985
Verre atomique, circa 1985
Atomic glass blocks, white glass base, silicone glue
Unique artwork
Non signé
Les huit côtés de l'occident, 1976
Les huit côtés de l'occident, 1976
Lead, blades and hooks
12.2 x 8.7 x 4.7 in - 12.6 x 9.1 x 6.5 in - 14.6 x 8.3 x 3 in
Unique artwork
Non signé
Sans titre, 1962
Sans titre, 1962
ink on paper
40 x 27,5 inches
Unique artwork
Signé et daté
Rebecca Fanuele
Nuage n°1, 1960
Nuage n°1, 1960
Huile sur toile
Unique artwork
Signé
N'Roll, 1976
N'Roll, 1976
Lead, steel blades, rubber
Unique artwork
Non signé
Monument aux vivants, 1976
Monument aux vivants, 1976
Steel blades, hooks and lead
9.4 x 11.4 x 7.9 in
Unique artwork
Signé

Daniel
POMMEREULLE (Estate)

Daniel Pommereulle passed away in December 2003, leaving a very diverse and complexe but also peculiar and premonitory work. According to Alain Jouffroy's phrase, he was associated to the "Objectors" (les "Objecteurs"). Despite some important exhibitions (Fin de siècle presented in 1975 at National Center for Contemporary Art - Georges Pompidou, or the retrospective exhibitions at the Dole and Belfort museums in 1991) and a growing aura, this work, certainly one of the most importants of the second half of the 20th century in France, remains unknown and secret.

From the 1980's to the 1990's he concentrates on the transparency theme with layouts of glass, paper and steel.

As an actor, he started with Eric Rohmer's La Collectionneuse in 1967 and played in a dozen of movies, among which François Truffau's La mariée était en noir (The Bride Wore Black), Jean-Luc Godard's Week-End and Les Idoles by Marc'O are noteworthy. In 1972, he takes part in La Cicatrice Intérieure (The Inner Scar) by Philippe Garrel whom he'll join again 27 years later for Le Vent de la nuit (Night Wind).

As a film director One More Time (1967) and Vite (Fast, 1969) are the most noticeable movies for which he successively created a suicide machine and shot sequences through a telephoto lens or a telescope, leading to an apology of the desert and the planet Saturn.




Le Monde

  • Daniel POMMEREULLE (Estate)

Sélection Galerie: Daniel Pommereulle chez Christophe Gaillard

06.04.2018
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Le magazine du Monde

  • Daniel POMMEREULLE (Estate)

Insaisissable

17.03.2018
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exponaute

  • Hélène DELPRAT

  • Daniel POMMEREULLE (Estate)

  • Letha WILSON

Collector's Summer

04.08.2016
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