Annemarie Heinrich
Desnudo XII (Nude 12), 1945
Vintage gelatin silver print, mounted
Stamped and titled on verso
16 1/4 x 11 1/2 in.

Annemarie Heinrich
Harold Kreuzberg, 1945
Vintage gelatin silver print, mounted on paper
Stamped and dated on verso; signed on mount recto
9 1/2 x 11 5/8 in.

Annemarie Heinrich
Moda II, 1943
Vintage gelatin silver print, mounted
Stamped, titled, and dated on verso
11 5/8 x 8 1/8 in.

Cara II, Rosita Montenegro, 1939
Vintage gelatin silver print
Stamped on verso; signed on mount recto
9 x 11 in.

Annemarie Heinrich
Caprices, Anita Grimm, 1936
Vintage gelatin silver print
Artist's stamp on verso; signed and titled on verso
8 1/8 x 11 1/4 in.

Anatole Saderman
Manihot Grahamii Hardy Tapioca, Fruits and Leaves, 1934
Vintage gelatin silver print
Artist's stamp on verso
11 1/4 x 8 1/2 in.

Anatole Saderman
Flia Amarilidaceas, Fruits, 1934
Vintage gelatin silver print
Artist's stamp on verso
11 3/8 x 9 in.

Anatole Saderman
Untitled, 1934
Vintage gelatin silver print
Artist's stamp on verso
11 1/2 x 9 1/2 in.

Anatole Saderman
Pondranea Ricasoliana, Fruit, ca. 1934
Vintage gelatin silver print
Artist's stamp on verso
11 3/8 x 8 3/8 in.

Juan Di Sandro
Untitled (Fountain), 1940
Vintage gelatin silver print
Signed by artist's daughter, titled, and dated on verso
14 5/8 x 10 3/4 in.

Juan Di Sandro
Juan Peron, Eva Peron, ca. 1950
Vintage gelatin silver print
10 3/4 x 14 3/4 in.

Anatole Saderman
Jacaranda Mimosifolia, Jacaranda Fruit Closed Capsule, 1934
Vintage gelatin silver print
Artist's stamp on verso
11 1/2 x 7 3/8 in.

Anatole Saderman
Caesalpina Gillesi, Yellow Bird of Paradise, 1934
Vintage gelatin silver print
Artist's stamp on verso
11 5/8 x 9 1/4 in.

Grete Stern
Dream 42, 1949
Printed in 1991
Gelatin silver print
Artist's stamp on verso
11 3/8 x 8 in.

Annemarie Heinrich
Fashion I, 1938
Vintage gelatin silver print, mounted on paper
Artist's stamp, title, and date on verso
Signed on on mount recto
11 1/2 9 3/8 in.

Grete Stern
Dream 41, The Phone Call, 1951
Gelatin silver print, printed 1991
Artist's stamp on verso
Titled and dated in pencil on print verso
9 7/8 x 7 1/2 in.

Sameer Makarius
Untitled (Fabuloso!), ca. 1950
Vintage gelatin silver print, mounted
Signature and artist's stamp on verso
11 5/8 x 8 in.

Sameer Makarius
Untitled (Barco), ca. 1950
Vintage gelatin silver print
Artist's stamp and signature on verso
11 5/8 x 6 7/8 in.

Sameer Makarius
Untitled (Adentro de un Bar), ca. 1950
Vintage gelatin silver print, mounted
Artist's stamp and signature on verso
7 x 9 1/2 in.

Sameer Makarius
Untitled (piso con chapitas), ca. 1950
Vintage gelatin silver print
Artist's stamp and signature on verso
7 5/8 x 11 5/8 in.

Grete Stern
Dream 31, Made in England, ca. 1950
Gelatin silver print, printed 1991
Artist's stamp on verso
11 1/4 x 7 1/8 in.

Sameer Makarius
Untitled (Calle Corrientes), ca. 1950
Vintage gelatin silver print, mounted on paper
Stamped and signed on verso
8 1/4 x 11 3/4 in.

Sameer Makaius
Untitled (Teatro), ca. 1950
Vintage gelatin silver print
Artist's stamp and signature on verso
8 3/8 x 11 5/8 in.

Juan Di Sandro
Vigil on the Night Before the Passing of Eva Peron, 9 de Julio Avenue, 1952
Vintage gelatin silver print
Signed by artist's daughter
6 1/2 x 8 3/4 in.

Juan Di Sandro
Searchlights of the Wide Squadron at the Port of Buenos Aires, 1937
Vintage gelatin silver print
Signed by the artist, titled, and dated on verso
8 x 11 1/8 in.

Juan Di Sandro
Buenos Aires at Night, 1937
Vintage gelatin silver print
Signed by artist's daughter and titled in Spanish on verso
9 x 11 3/8 in.

Juan Di Sandro
Incendio en un barco, La Boca, 1929
Vintage gelatin silver print
Signed by the artist, titled, and dated on verso
9 38 x 11 1/2 in.

Juan Di Sandro
Fire at the El Coloso Store, 1937
Vintage gelatin silver print
Signed by the artist, titled, and dated on verso
11 1/2 x 8 7/8 in.

Sameer Makarius
Boca 1 No. 68, ca. 1950
Vintage gelatin silver print
Artist's stamp and signature on verso
9 3/8 x 6 5/8 in.

Grete Stern
Dandelions, 1930
Gelatin silver print, printed 1984
7 1/4 x 7 in.

Grete Stern
Glass With Paper, 1931
Gelatin silver print, printed in 1984
Artist's stamp on verso
8 3/8 x 5 7/8 in.

Annemarie Heinrich
Self-portrait with children, 1947
Vintage gelatin silver print
Stamped and titled on verso
8 1/2 x 9 1/8 in.

Annemarie Heinrich
Torso, 1937
Vintage gelatin silver print, mounted on paper
Artist's stamp on verso
11 3/8 x 8 1/8 in.

Annemarie Heinrich
Blanco y Negro (Vandoye Eycken and Pepe Emery), 1954
Vintage gelatin silver print, mounted
Stamped, titled, and dated on verso; signed by artist on mount recto
11 x 15 3/4 in.

Horacio Coppola
Londres, 1934
Vintage gelatin silver print
Signed, titled and dated in pencil on print verso
7 7/8 x 5 5/8 in.

Horacio Coppola
Londres (Laundry), 1934
Vintage gelatin silver print
Signed, titled and dated on verso
6 x 7 5/8 in.

Horacio Coppola
Feder, 1932
Vintage gelatin silver print
Signed, titled, dated on verso
Photographer's credit and annotated "Bauhaus, Berlin" in ink on verso
5 7/8 x 7 1/2 in.

Horacio Coppola
Londres (Wall), 1934
Vintage gelatin silver print
Signed, titled and dated in pencil on verso
6 x 8 1/4 in.

Press Release

Nailya Alexander Gallery is pleased to present “Light of Modernity in Buenos Aries, 1929-1954,” an exhibition of 42 gelatin silver prints by Annemarie Heinrich (Germany, 1912 – Argentina, 2005), Grete Stern (Germany 1904 - Argentina, 1999), Horacio Coppola (Argentina, 1906), Anatole Saderman (Russia, 1904 - Argentina, 1993), Juan Di Sandro (Italy, 1898 - Argentina, 1988), and Sameer Makarius (Egypt, 1924-Argentina, 2009). The exhibition will run from October 18 through January 11, 2012 at The Fuller Building, 41 East 57th Street, Suite 704. The opening reception will be held on October 18 from 6 to 8pm. Gallery hours are 11am-6pm, Tuesday through Saturday and by appointment.

Modern photography emerged in Argentina between the 1930s and the early 1950s with the ar- rival of European artists. After emigrating from Berlin in 1926, Annemarie Heinrich initially worked as an assistant photographer, and in 1930, opened her own studio in Buenos Aires. Her world was theater, entertainment, cinema, and culture. Honing a version of glamour portraiture, Heinrich experimented with fragmentation and multiple exposures (Caprices, Anita Grim, 1938) as well as the metaphors and optical games of surrealist inheritance (Self-portrait with Children, 1947).

Horacio Coppola practiced photography and film in the 1920s. Following a short stay in London in 1932, he studied at the Bauhaus in Berlin. There he met and later married Grete Stern. The two studied with Walter Peterhans, who had a great influence on both of them. With the rise of Nazism, the couple moved to Buenos Aires (1935), and started a photography and advertising studio. Due to their European experience, Coppola and Stern were instrumental in the modernization of local photography. On view will be photo- montages of Stern’s most famous series Sueños (Dreams) made for the weekly psychology magazine Idilio between 1948 and 1952.

In 1936, the Asociación Amigos del Arte exhibited photographs of vegetable species, which Anatole Saderman, unaware about the work of Karl Blossfeldt, produced for the publication Wonders of Our Indigenous Plants in 1934, under the direction of the botanist Ilse von Rentzell. After the Bolshevik Revolution the Saderman family left Russia for Poland and then moved to Germany, eventually settling in Buenos Aires in 1930. 

Anatole was a member of La Carpeta de los 10 (Folder of Ten), active between 1952 and 1959. The group was famous for prolific photographic production and critical discourse. It also included Annemarie Heinrich and Juan Di Sandro who came to Argentina in 1910 from Italy. Di Sandro was the first noteworthy photojournalist in the country, and worked for the newspaper La Nación from 1914 to the military dictator- ship of 1976.

Sameer Makarius called his style “subjective documentalism.” He lived in Germany and Hungary before moving to Argentina in 1953, and became the leader of the Forum. This association sought to reflect the way of life with pristine clarity and truthfulness, with experimentation placed within the limits of documentary ethics.

All six photographers in the exhibition are considered innovators and founders of Argentina’s modern photography.