Frederick Sommer

signed and dated on the reverse, 1955

The photographer to Jonathan Williams, as early as 1957

Acquired by the present owner from the above, early 1980s

The Art of Frederick Sommer, p. 134; Venus, Jupiter & Mars exhibition checklist, pl. 76; Pharos '78, Vol. XV, No. 2 (St. Petersburg, Florida, Museum of Fine Arts, 1978), cat. 166

This print, on double-weight semi-glossy paper, is in generally excellent condition. In raking light, a small handling crease (1/2-inch) is visible at the lower left quadrant. The margin corners are lightly bumped, and the top right corner is crimped.
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 full catalogue information for this lot is as follows:

signed, annotated 'Photograph,' and dated by the photographer in pencil on the reverse, matted, 1955

The photograph offered here originally comes from the collection of writer and publisher Jonathan Williams (1929 - 2008).  In 1957, Aaron Siskind encouraged Williams to visit Frederick Sommer in Arizona.  After their introduction, Williams used Sommer's photographs as cover illustrations for a number of books published by Jargon Press.

The Art of Frederick Sommer and Venus Jupiter & Mars each have a different negative date for this image: 1965 and 1963 respectively.  Although Sommer dates this print 1955, it is likely that this image was created in the late 1950s or early 1960s.  In the late 1950s, Sommer began a series of photograph made without the use of a camera.  Using a combination of materials that included grease, paint, and smoke, Sommer created synthetic negatives on glass or cellophane, and then used these to make photographic prints.