Aaron Siskind 1903-1991

flush-mounted to Masonite, signed, titled, dated, annotated 'Egan Gallery, N. Y. C.' and numbered '16' (circled) twice by the photographer in pencil on the reverse, framed, 1949

Andrew Roth at Glenn Horowitz Bookseller, East Hampton, New York

Acquired by Nancy Richardson from the above, 1997

Other prints of this image:

Carl Chiarenza, Aaron Siskind: Pleasures and Terrors (Boston, 1982), fig. 95

Peter Galassi, American Photography, 1890-1965, from The Museum of Modern Art (The Museum of Modern Art, 1995, in conjunction with the exhibition), p. 178

This early exhibition print is flush-mounted to Masonite and has four strips of wood glued to the reverse to create the desired space between the image and the wall when hung. This style of presentation, in which the photograph is displayed unglazed, was used by Siskind in the early 1950s. A number of other lots in the Richardson Collection are similarly presented (see Lots 46, 47, 53, and 58). The print is in quite good condition. There are three intersecting indentations (each approximately 2 ¾ in. in length) in the upper left quadrant which do not break the emulsion. There is general wear and chipping of the emulsion around the edges of the print. None of these issues detract from the overwhelmingly fine appearance of this large and impressive print, or diminish its considerable object quality. Unlike other prints mounted to Masonite, this print has not developed the typical surface craquelure.
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.

The notations on the reverse of this photograph indicate that it was included in one of the exhibitions of Siskind's photographs at Egan Gallery, New York, in the late 1940s and early 1950s (see Lots 46 and 47).  The presentation style, in which the photograph is mounted to Masonite, with narrow wood blocks affixed to the reverse, allowed the photograph to stand out from the wall when hung, and is typical of Siskind's exhibition prints from this period.  Siskind typically exhibited his photographs without cover glass. 

Siskind was introduced to gallerist Charles Egan by the painter Barnett Newman in 1947.  Egan was known for showing the work of New York painters, such as Franz Kline and Willem de Kooning, long before their artistic contributions had received widespread acknowledgement, and certainly before handling the work was a lucrative prospect.  Egan's willingness to show unproven art led him to offer Siskind a series of one-man exhibitions.  The first, in 1947, was titled simply Aaron Siskind: 30 Recent Photographs.  This was the first time Egan's gallery had ever exhibited photographs, although it would not be the last.  Between 1947 and 1954, Siskind had a total of five exhibitions at the gallery.  In 1949, Egan offered Siskind's friend, the photographer and artist Frederick Sommer, his first solo exhibition of photographs and drawings.     

In his introduction to a catalogue of Siskind's work (Places: Aaron Siskind, Photographs, New York, Light Gallery, 1976), art critic Thomas B. Hess addresses the connection of Siskind's work to that of his Abstract Expressionist colleagues: 

'Aaron Siskind is a key figure to the development of modern photography.  As is well known, he made photographs in 1943-45 that eerily predict some of the formations Franz Kline would paint in 1949-50.  In 1950, while Willem de Kooning was struggling with the first of his series of monumental "Women," he kept by his work area a print that Siskind had given him [New York 1950].  'I learned a lot from it, Aaron,' he told the photographer who was visiting the painter's Fourth Avenue studio one afternoon' (ibid., p. 6).