Berenice Abbott

titled, probably by the photographer, in ink and with her 'Berenice Abbott Photograph' credit stamp on the reverse, matted, framed, 1927, probably printed in the 1930s or 1940s 

Sotheby's New York, 5 October 1995, Sale 6747, Lot 189

Acquired by the present owner from the above

This early, somewhat warm-toned photograph, on double-weight paper with a semi-glossy surface, is in generally very good condition. There is minor wear at the edges of the print, with a tiny nick at the upper edge and extremely small emulsion loss at the left corner along the left edge. There are two pinpoint deposits of indeterminate nature, possibly pencil or ink, in the lower portion of the print. In raking light, a 1/8-inch circular area of original retouching is visible in the upper left quadrant above the sitter's head. There is light soiling on the reverse of the 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.

Along with Man Ray, Berenice Abbott was one of the portrait photographers of choice for a select group of artists, writers, and the well-to-do of Paris in the 1920s.  It was there she met Jean Cocteau—poet, writer, dramatist, designer, and filmmaker—and collaborated with him on some of the most creative portraits of her career.  A standard head-and-shoulders pose soon led to a variety of studies—Cocteau in a trench coat and hat, aiming a pistol at the camera; Cocteau's elegant hands folded over his hat; Cocteau's hands on a mask; and Cocteau and the same mask in bed, the series from which this image comes.  When Cocteau arrived at Abbott's Paris studio on the rue du Bac for the sitting, he brought the mask with him and asked to include it in the photographs—not surprising, given that, within Cocteau's own body of work, masks figured prominently.

In 1926 Cocteau designed the invitation for Abbott's first solo exhibition held at Au Sacre du Printemps Galley.  It also included a poem he wrote about the photographer.