Aaron Siskind 1903-1991

mounted to Masonite, signed and dated by the photographer in pencil on the reverse, 1952

The photographer to Joseph Jachna

Acquired from the above by Jeffrey Gilbert, Chicago

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

Acquired by Nancy Richardson from the above, 1997

Another print of this image:

Nathon Lyons, Henry Holmes Smith, et al., Aaron Siskind: Photographer (George Eastman House, 1965), unpaginated

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, 50, and 53). The print is in quite good condition. There is minor wear around the edges of the print, and a small loss of both the photograph and mount (about ¼-inch square) in the upper right corner. As is typical of photographs mounted to Masonite, the surface of this print has, over time, developed a slightly craquelure appearance. This does not detract from the overwhelmingly fine appearance of this print, or diminish its considerable object quality.
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.

Like Lots 46, 47, 50, and 53 in the Nancy Richardson collection, this photograph was mounted onto Masonite by Siskind for the purpose of exhibition.  Four narrow blocks of wood are glued onto the reverse, which create a space between the photograph and the wall when hung.  This was the presentation style Siskind favored in the late 1940s and early 1950s for his exhibition prints, and it is probable that this print was included in one of the five exhibitions of the photographer's work at the Egan Gallery in New York City between 1947 and 1954 (see also Lots 46, 47, and 50).