Head of the Bauhaus typography and advertising workshop, Herbert Bayer took up the camera about 1925, initially using photography in relation to his design work and later pursuing it for its own sake. In 1928 he traveled to Marseilles, where he photographed the Pont Transbordeur, a steel bridge with a moving "transporter" platform between its two towers that was celebrated, like the Eiffel Tower, as an icon of modern construction. As were a number of other avant-garde photographers, including his Bauhaus colleagues Moholy-Nagy and Florence Henri, Bayer was fascinated by the novel spatial relations of the bridge's crisscrossing steel girders and open spiral staircase.
Inscription: Photographer's stamp on print in purple ink, verso LR: "herbert-bayer // berlin hardenbergstr 24"; inscribed in red pencil on print, verso UL: "436"; inscribed in pencil on print, verso UR: "muß [illegible] kommt zum Aufsatz // Film u. Foto // Kiewan"; inscribed in pencil on print, verso UC: "8 cm [illegible, whole line crossed out] // [arrow left and right]"; inscribed in pencil on print, verso LR: "Marseilles [underlined]: restaurant // und wendel treppe von // pont-transbordeur [underlined] // Pont-Transbordeur // Marseilles [last two lines inscribed in blue pencil]"; inscribed in pencil on print, verso LL to LR: "bayer vintage 9 3/4 x 6 5/8 " 26-175 // 16-160 85% [crossed out] 1928"
Herbert Bayer; [Prakapas Gallery, Bronxville, New York]; John C. Waddell, New York (January 24, 1987)
Montreal Museum of Fine Arts. "The 1920s: Age of the Metropolis," June 20, 1991–October 10, 1991.