Edward Weston

platinum or palladium print, signed, dated, and annotated 'Mexico' by the photographer in pencil on the reverse, mounted along the top edge only to a buff-colored mount, signed, initialed, titled, dated, numbered '6/50,' and annotated 'Mexico' by him in pencil on the mount, titled and inscribed 'Merry Xmas, only 3 months late, Love to Jean, Edward' and '20.00' by the photographer in pencil on the reverse, matted, 1926, no. 6 in a projected edition of 50

The photographer to his niece, Jeannette Seaman, circa 1927

By descent to her nephew, John W. Longstreth

The Dayton Art Institute, Edward Weston's Gifts to His Sister, January - March 1978, and traveling to:

New York, International Center of Photography, July - September 1978; and

The Oakland Museum, February - March 1979

The Dayton Art Institute, Edward Weston: A Photographer's Love of Life, February - July 2004, and traveling to:

Oregon, Portland Art Museum, September - November 2004

Omaha, Joslyn Art Museum, January - April 2005; and

Rochester, George Eastman House, April - September 2005

This print:

Kathy Kelsey Foley, Edward Weston's Gifts to His Sister (The Dayton Art Institute, 1978, in conjunction with the exhibition), p. 43

Alexander Lee Nyerges, Edward Weston: A Photographer's Love of Life (The Dayton Art Institute, 2004, in conjunction with the exhibition), p. 65 and pl. 20

Other prints of this image:

Conger 197

Brett Abbott, In Focus: Edward Weston (The J. Paul Getty Museum, Los Angeles, 2005), pl. 17

This early, warm-toned print, mounted on a large, thin, buff-colored card mount, is in generally excellent condition. There is a very slight wave in the paper that is discernable only under the closest examination, as well a two very small, light spots of indeterminate nature in the lower portion of the print near the bottom edge. The edges are very slightly rubbed and the corners bumped. The large card mount exhibits age-darkening, and the corners are rounded from minor wear.
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 Mexican revolutionary and folk hero Pancho Villa was assassinated in 1923, and in the wake of his death, small toys such as the one depicted here were created in commemoration.  Weston authority Amy Conger recounts that Weston had purchased two of these small 'Panchito Villas' and sent them to Neil and Cole in California.  Tina Modotti, knowing Weston's love of  juguetes, bought Weston his own 'Panchito' for Christmas in 1923 (Edward Weston in Mexico, 1923 - 1926, p. 28).

The photograph offered here, of an intricate reed Panchito, was likely made in February 1926.  In his daybook from that time, Weston writes of posing a '. . .horse-man, a sombrero, and a straw-rain-coat to make an all grass symphony' (Daybooks, Mexico, 22 February 1926).   The present print was a Christmas gift to his neice, with an inscription on the reverse: 'Merry Xmas, Only 3 months late.  Love to Jean, Edward.'   

In addition to a print in the Edward Weston Archives at the Center for Creative Photography, Tucson, Conger locates a print at the Art Institute of Chicago, one at the J. Paul Getty Museum, and a Project Print at Santa Cruz.  Weston's negative log at the Center for Creative Photography indicates that, of the projected edition of 50 from this negative (1J), only six prints were made.