Baron Adolf de Meyer

tipped at the top left corner only to heavy paper, the photographer's stylized signature in pencil on the mount, annotated in an unidentified hand in pencil on the reverse, matted, circa 1912

Helios Arts, Inc., New York, acquired from the above

Acquired by the present owner from the above, 1977

This luminous, slightly warm-toned gelatin silver print is on a platinum-like matte-surface paper, is in generally excellent condition. There is silvering in the dark areas along the bottom and lower edges, as well as in the sitter's hair and hat. There are various linear and pinpoint indentations of varying sizes is visible in the image, all of which appear to be retouched by the photographer and are barely noticeable unless under close examination. The subject's eyes and mouth have been skillfully accentuated. The mount is in generally very good condition. There is appropriate age-darkening around the edges, most predominantly in the bottom, and lower left and right edges. There is a significant chip in the mount at the upper right corner, resulting in paper loss, which does not affect the image. There are very minor smudges on the reverse. The reverse is annotated 'during the teens' in an unidentified hand in pencil. There is a small area of crystallized yellow residue, likely glue, that is rough to the touch, on the reverse, which does not affect the image. There is a second small area of residue on the reverse which also does not affect the image.
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.

This photograph of the great Gertrude Vanderbilt Whitney (1875 – 1942), founder of the Whitney Museum of American Art, shows her in an elaborate costume created especially for her by Léon Bakst, the famous designer for the Ballets Russes.   Baron de Meyer made a number of photographs of her in these same Persian-inspired harem pants and tunic, rich with Bakst's characteristic embroidery and elaborate appliqué.  Another from this series, reproduced in Anne Ehrenkranz's A Singular Elegance, fig. 9, was used in the 15 January 1913 issue of Vogue and shows Mrs. Whitney looking fearlessly into the camera, confident in her position as one of the richest and most influential members of New York's smart set. 'In spite of her exacting social life as one of the prominent hostesses of New York, Mrs. Whitney finds time to devote herself seriously to real work,' the Vogue caption read. 'She is a sculptor of ability and is interested in many art movements, one of which is the recently organized Stage Society.  This striking photograph shows her in a Persian costume worn at a fancy dress party at which she was the hostess.'

In 1896, the fabulously wealthy Gertrude Vanderbilt had married the equally rich young Harry Payne Whitney, creating one of the largest fortunes in America.  A generous patron of the arts and a sculptor in her own right, Gertrude Whitney went on to fund a number of progressive arts organizations, including the Whitney Studio Club for artists and the International Composers Guild, a force in modern music.  Artists from Robert Henri and Arthur B. Davies to Charles Sheeler and Edward Hopper benefited from her largesse.  In 1930, she established the Whitney Museum of American Art, after her own personal collection of modern art was refused by The Metropolitan Museum of Art the previous year. 

Other de Meyer photographs showing Whitney posed in the Bakst costume are reproduced in Ehrenkranz, op. cit., pls. 5 and 94; and Alexander Jullian's de Meyer, pl. 10.