Lot 136
  • 136

Robert Frank

Estimate
5,000 - 7,000 USD
bidding is closed

Description

  • Robert Frank
  • 'WELSH MINERS' (BEN JAMES)
  • Gelatin silver print
credit, title, stamped 'Printed from the original negative by R. P. (Rolf) Petersen' and signed by Petersen, and with annotations, in pencil, on the reverse, framed, 1953, probably printed in 1955 (Family of Man, p. 155)

Provenance

Collection of Tim Gidal, photojournalist and photographic historian

Swann Galleries, 24 April 1996, Sale 1723, Lot 159

Condition

This print, on double-weight paper, with a lightly pebbled surface and surface sheen, is in generally excellent condition. There is slight rippling at the upper edge, and a small portion of the upper paper ply is lifting at the right margin edge. This does not affect the image. In raking light, small, soft handling creases are visible in the upper portion of the print. The reverse is lightly soiled, and there are the following notations: 'XX HL,' '389' (circled), and 'p. 155' (the page on which the image appears in the 1955 MoMA edition of 'The Family of Man').
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

German-born Rolf  Petersen worked as a photojournalist and photo editor in Berlin in the 1920s and 30s.  He emigrated to New York City in 1951 where he worked with many of the leading commercial photographers of the day.  Petersen was asked by Wayne Miller to work with Steichen on the Family of Man project in 1954.  He continued to work with Steichen and maintain a darkroom at the Museum of Modern Art, even though he did not officially become a Museum staff member until 1962.