Paul Strand

platinum print, 'T-53' in pencil on the reverse, framed, a Weston Gallery label on the reverse, circa 1914-15

Estate of Paul Strand

Weston Gallery, Carmel, 1981

Christie's New York, 25 April 1989, Sale 6800, Lot 172

Galerie zur Stockeregg, Zurich, 2000

Paul Strand, Katalog 6, Galerie zur Stockeregg, pl. 3 (this print)

This large platinum print has rich, slightly sepia tones and a velvety matte surface. It is in generally excellent condition. Deposits of the photographer's original retouching are visible upon close scrutiny. Retouching in the trees in the upper right portion of the image appears to have turned a slightly warmer tonality. The thin black margins are lightly worn and there is miniscule chipping. In raking light, faint graphite offsetting is visible in the margins. On the reverse of the print, there is a scattering of tiny rust-colored deposits, possibly foxing, as well as fingerprints. Also on the reverse, there is a thin translucent deposit running the width of the upper edge, possibly old adhesive, indicating that this print may have been mounted at one time.
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.

According to Strand authority Anthony Montoya, the large platinum photograph offered here is the only print extant.  Made in 1914 or 1915, near his parents’ rented cottage in Connecticut, the photograph shows how quickly Strand had moved, as early as 1914, from his beginnings as a Pictorialist.  While the rural scene and soft focus are a subject and approach typical of much of the work of the time, Strand’s rigorous composition and extended depth-of-field deviate from the standard Pictorial template.  As with the photographs of Karl Struss and Clarence White, the best of Strand’s early work is precociously forward-looking. 

It was the Twin Lakes cottage that provided Strand with the setting for his revolutionary still life studies—Porch Shadows, Chair Abstract, Pear and Bowl, and others—that would set him apart so dramatically from his contemporaries.