W. Eugene Smith

oversized, printing notations in ink in the margin, the photographer's estate stamp on the reverse, 1950, printed later (Johnson 12:021)

This large and impressive photograph, on double-weight paper with a slight surface sheen, is in generally fair to good condition. The print has been unevenly trimmed, and along the left margin edge, there is a one-inch tear that does not affect the image and a continuous strip of transparent cellulose tape. There are 15 strips of brown masking tape around the print at the margin edges. These do not affect the image. The photographer's annotation at the left margin edge reads 'Crop to save - needs Ferra wash.' Visible in raking light are the following: small deposits of original retouching, particularly in the upper left quadrant; 3 sharp handling creases – 2 (½-inch and 2½-inches) in the upper left margin edge and quadrant; and a 1¾-inch crease in the lower center portion of the image. These appear to break the emulsion. The reverse of the print is lightly soiled. 'GB-1-A6' and '11' (boxed) are annotated in pencil. When examined with a black light, this print does not appear to fluoresce.
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.

In 1950, Life magazine sent W. Eugene Smith to South Wales to cover Labor party Prime Minister Clement Atlee's hard-fought election against the resurgent Tories in England.  With little visual evidence of electioneering available, Smith wrote that he decided 'to try photographic symbolism of Labour party claims and promises and through these show the basis of their strength. . . . I left the main caravan for part of a day, photographing where I would, and anything I felt could be tied to the election.  It was a day in which my seeing seemed boundless, and though mostly unprinted, it was perhaps the most creative day of my life' (Let Truth Be the Prejudice, unpaginated).