Edward Weston

mounted, signed and dated by the photographer in pencil on the mount, titled by him in pencil on the reverse, matted, 1936

The photographer to his sister, Mary Weston Seaman

By descent to her daughter, Jeannette Seaman

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. 47

Alexander Lee Nyerges, Edward Weston: A Photographer's Love of Life (The Dayton Art Institute, 2004, in conjunction with the exhibition), pl. 32

Other prints of this image:

Conger 944

Judith Hochberg, Sarah Lowe, Michael Mattis, and Dody Weston Thompson, Edward Weston: Life Work (Revere, 2004), pl. 78

Kurt Markus, Dune: Edward & Brett Weston (Kalispell, 2003), p. 71

Passion and Precision: Photographs from the Collection of Margaret W. Weston (Monterey Museum of Art, 2003, in conjunction with the exhibition), p. 30

We believe that characteristics of this print--the paper with its slight surface sheen; the mount that has a slick white surface on the front and a smooth surface on the back; the full signature and dating on the mount and title by the photographer in pencil on the reverse--are representative of what we believe to be the prime state of this image from 1936. This early print delivers a great deal of detail throughout is long tonal scale it is in generally very good to excellent condition. There is extremely faint discoloration that is barely visible at the edges of the print. When examined closely in high raking light, the following are visible: tiny nicks at the upper right and lower left edges; random pinpoint indentations; a fingerprint at the right side; and thin hairline surface scratches in the center/right sky area. None of these is immediately apparent under normal viewing conditions. The mount is thick white board with a slick surface on the front and a smooth, buff-colored back. It is been trimmed to within one inch of the image. The edges and corners are lightly worn, and the upper right corner is creased. The front of the mount exhibits light soiling, and there is a small remnant of shiny tape at the lower edge. The reverse is age-darkened, and there is a small abrasion on the lower left. 'EWP 7' is written in an unidentified hand in pencil at the lower edge.
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 subtle tonalities of white-upon-white in the present photograph show Weston's absolute mastery of technique and his superb gift for picture-making.  The print offered here, with Weston's full signature and date on the mount, represents an early state of the image. 

Weston authority Amy Conger refers to this dune photograph as 'a study in white.'  Weston's negative log indicates that, like the dune photograph of the preceding lot, it was made in November of 1936.  Conger relates it to another 'white' dune study, negative number 52SO, Charis Wilson's print of which was inscribed 'To Charis/ Dune/ Nudes/ Sky/ Sea/ Yr. Edward' (Conger 948).

Conger locates prints of the present image in five institutional collections: the Harrison Memorial Library, Carmel; the Art Institute of Chicago; the George Eastman House, Rochester; the Huntington Library, San Marino; and the Nelson-Atkins Museum of Art, Kansas City.  There is also a Project Print at Santa Cruz. 

At the time of this writing, two prints in private collections are known: one in the collection of Margaret W. Weston, California, and a second in the collection of Judith Hochberg and Michael Mattis, New York.