Fred Zinnemann

warm-toned, signed, titled, dated, and numbered '9' (circled) by the photographer and with annotations in an unidentified hand in pencil on the reverse, matted, 1931

This warm-toned early print, on medium-weight paper with a surface sheen, is in generally very good condition. There is a chip in the emulsion at the left edge of the margin which does not affect the image. There is silvering in the dark areas at the corners. There is a small indentation near the center of the bottom edge that breaks the emulsion. When the print is examined in raking light, a number of small soft and sharp handling creases and overall faint scuffing are visible. These are not visible at a normal viewing distance and do not detract from the otherwise attractive appearance of this print.
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.

At the time of this writing, only two other prints of this image have been located: one in the collection of the Victoria & Albert Museum, London, and another sold in these rooms on 17 October 2006 (Sale 8227, Lot 54), now in a private collection.

Award-winning film director Fred Zinnemann, who directed such films as High Noon, From Here to Eternity, The Men, The Day of the Jackal, and A Man for All Seasons, among others, began his career as a photography student.  He arrived in New York from his native Austria on the day of the stock market crash in October, 1929.  After visiting Hollywood, he returned to New York in 1932 with plans to publish a book of photographs of the city. In the depths of the Depression, the cost of producing an illustrated book proved too expensive, and Zinnemann eventually turned to filmmaking. An early effort was The Wave, on which he worked with Paul Strand.

Very few early prints of Zinnemann's New York photographs survive.  Over the years, his prints and negatives were consigned to storage or lost.  Most of what remained of his personal archive was donated to the Victoria & Albert Museum, London.