Paul Outerbridge, Jr.

color carbro print, mounted, accompanied by the photographer's original mat, signed and dated in pencil, and wood frame, 1938 (Singular Aesthetic, pl. 95; Command Performance, pl. 69)

This early color carbro print has the rich, saturated colors and velvety matte surface that are typical of this process. The curtains in the background of the picture are rendered expertly in terms of their individual colors and textures. The whites of this photograph – in the mums and their vase – are a pure, slightly warm white. Rendering whites accurately in color photography has always posed (and continues to pose) a technical challenge. In this print, Outerbridge handles the whites with the aplomb of a craftsman at the top of his game. The print has recently undergone conservation to address areas of chipping near the bottom edge. The conserved areas are now only visible upon close examination. A treatment report is available upon request. Old adhesive, yellowing somewhat, is visible on all edges of the print. This invades the image only along the bottom edge. The surface of the image is in quite good condition. The print is mounted to a sheet of heavy brown board, which also has adhesive remains on its front.
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.

Beginning in the mid-1930s, Paul Outerbridge became one of the most successful commercial photographers in America, one whose color photographs were in great demand from a variety of magazines and camera annuals.  From 1936 through 1939, one of his most lucrative relationships was with the magazine House Beautiful, for which he provided not only editorial illustrations, but also many covers. 

Still Life with Chrysanthemums was used as the cover image for House Beautiful in October 1938.  Another color carbro print of the image is in the collection of the San Francisco Museum of Modern Art, a gift of the photographer in 1952.