Pendu Collection

Tarot Card 12 - Le Pendu (The Hanged Man)

The Hangmanss House, c. 1891
BAL86971 The Hangmanss House, c.1891 by Filiger, Charles (1863-1928); Private Collection; French, out of copyright

Mlle. Roussel as Martial in La Corde de Pendu, 1844
Mlle. Roussel as Martial in La Corde de Pendu by Laloue and Bourgeois, Theatre du Cirque Olympique, 1844. Actress crossdressing as a trumpeter for the Musketeers

Madame Marie Laurent as Antoinette in La Corde de Pendu by Ferdinand Laloue and Anicet Bourgeois, Theatre du Cirque Olympique, 1844

Charles Hoster as Lecorche in La Corde de Pendu, 1844
Charles Hoster or Phileas Salvator Levilly as Lecorche in La Corde de Pendu by Ferdinand Laloue and Anicet Bourgeois, Theatre du Cirque Olympique, 1844

Madame Josephine Gautier as Ariel in La Corde de Pendu, 1844
Madame Josephine Gautier as Ariel, a page to the king, in La Corde de Pendu by Ferdinand Laloue and Anicet Bourgeois, Theatre du Cirque Olympique, 1844

Asphyxie par strangulation, Un pendu (colour litho)
5210360 Asphyxie par strangulation, Un pendu (colour litho) by French School, (19th century); Private Collection; (add.info.: Asphyxie par strangulation, Un pendu)

Le Pendu De Londres
LE PENDU DE LONDRES (The hanged man of London) (Pierre Souvestre & Marcel Allain) - the seventh adventure involving Fantomas and detective Juve Date: circa 1911

Lighting / Gas / The Pendu-light reading lamp
A lady sits at home alone, reading a book in the evening under the light of her Pendu-light gas lamp

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"Pendu: A Symbol of Surrender and Transformation" The image of the pendu, depicted in various forms throughout history, holds a deep significance. In Tarot Card 12 - Le Pendu (The Hanged Man), we see a figure suspended upside down, representing surrender and sacrifice for spiritual growth. One such representation can be found in "The Hangman's House" from c. 1891, where the hanged man becomes a haunting presence within the narrative. Similarly, Mlle. Roussel as Martial in La Corde de Pendu (1844) embodies the tension between life and death, showcasing the power dynamics at play. Madame Marie Laurent as Antoinette in La Corde portrays another facet of this enigmatic character—someone who is bound by their circumstances but yearns for freedom. Charles Hoster as Lecorche also delves into this theme through his portrayal of an individual entangled in societal expectations. In contrast to these dramatic interpretations, Madame Josephine Gautier as Ariel brings an ethereal quality to La Corde de Pendu (1844). Her performance highlights how one can find liberation even when confined physically or emotionally. Asphyxie par strangulation further explores the consequences of hanging—a chilling reminder that life can be abruptly cut short. Meanwhile, Le Pendu De Londres serves as a grim testament to historical executions and their impact on society. From The Dreyfus case to The Misery and Misfortunes of War - Hanging series, we witness how hanging has been used both politically and symbolically throughout time. These events remind us that surrendering oneself may lead not only to personal transformation but also profound social change. Lastly, THE KITCHEN BELOW OR BELZEBUB GOING TO SUPPER presents a macabre scene where hanging takes center stage—an allegory for our darkest desires lurking beneath everyday life's surface.