Lot 138
  • 138

Arnold Newman

Estimate
5,000 - 7,000 USD
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Description

  • Arnold Newman
  • 'igor stravinsky, n.y.c.'
signed, titled, dated, and with a warm personal inscription by the photographer in pencil in the margin, signed and numbered '1054' by him in pencil and with his studio, copyright, and reproduction rights stamps on the reverse, matted, framed, 1946, printed in 2001 (Five Decades, pl. 61; Disappearing Witness, p. 181)

Provenance

Gift of the photographer to Frank Zachary, circa 2001

By descent to the present owner

Condition

This photograph is in generally excellent condition. There is very minor rippling in the paper. In raking light, there are various small deposits of original retouching visible throughout. The photograph is inscribed 'For Frank, the most wonderful art director, true friend -- and just a wonderful guy, much affection, August and Arnold, 2001' by the photographer in pencil in the margin.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

The photograph offered here was inscribed by Arnold Newman to Frank Zachary, who worked as editor and art director for numerous magazines including Holiday, Portfolio, Status, Modern Photography, and Travel and Leisure, before becoming editor-in-chief at Town and Country in 1972. He first met Newman at Modern Photography in the mid 1940s, and the two worked together on numerous stories. Zachary was a proponent of the photographic essay, and it is largely through his editorial support of the form that it became a prominent feature in the magazines of the day.