David Levinthal

4 unique large-format Polaroid Polacolor prints, each signed, dated, and editioned '1/2' in ink in the margin, 1989-90 (American Beauties, unpaginated, variants) (4)

These prints are in generally excellent condition. The colors are vibrant, with no apparent fading. The upper and lower margins are unevenly trimmed, as is typical of large-format Polaroid prints. Standing Beauty disrobing - Upon very close examination, 2 pin-point-sized losses of emulsion are visible to the right of the figure. Standing Beauty in profile - Along the upper left edge of the image is a tiny disturbance in the glossy surface, which likely occurred during processing. Standing Beauty in yellow bikini - In the upper left corner of the image, there are three tiny matte translucent deposits of indeterminate nature. Along the upper edge of the image, there is an ever-so-slight one-inch band of color shift. Seated Beauty in profile - Visible in high raking light are thin, linear, matte, translucent deposits of indeterminate nature.
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.

Reflecting on his American Beauties series, Levinthal comments, 'I found figures here and there at flea markets. . . one day I brought them into the Polaroid studio just to see how they would look. . . Fortuitously, all I had was sand.  I stuck one of them in the sand, and I was stunned by how elegant it looked against the bare background.  I knew I wanted to isolate them, to photograph them as sculpture.  But they looked so good with the background fading to black, that's how I shot the whole series' (The Wild West, p. 12).