Imogen Cunningham

signed by the photographer in pencil in the margin, framed, 1925

Paul M. Hertzmann, Inc., San Francisco

Collection of Joseph and LaVerne Schieszler, 1992

Sotheby's New York, Photographs from the Collection of Joseph and LaVerne Schieszler, 10 October 2005, Sale 8164, Lot 10

Richard Lorenz, Imogen Cunningham: Flora (New York, 1996), pl. 11

Richard Lorenz, Imogen Cunningham: Ideas without End (San Francisco, 1993), pl. 38

Richard Lorenz, Imogen Cunningham: the Modernist Years (Tokyo, 1993), unpaginated

Richard Lorenz and Manfred Heiting, Imogen Cunningham: 1883-1976 (Cologne, 2001) p. 200

Margery Mann, Imogen Cunningham: Photographs (Seattle, 1970),  pl. 11

Imogen Cunningham, Frontiers: Photographs 1906-1976 (Berkeley: The Imogen Cunningham Trust, 1978), table 4, image C; and pl. 34

William A. Ewing, Flora Photographica: Masterpieces of Flower Photography (New York, 1991), pl. 77

Margery Mann and John Humphrey, Women of Photography: An Historical Survey (San Francisco Museum of Modern Art, 1975), unpaginated

William S. Lieberman, Art of the Twenties (The Museum of Modern Art, 1979), p. 85

Barbara Haskell, The American Century: Art and Culture 1900-1950 (Whitney Museum of American Art, 1999), pl. 390

Therese Mulligan and David Wooters, Photography from 1839 to Today: George Eastman House (Cologne, 2000), p. 501

This photograph is on the matte-surface paper typical of Cunningham's prints from the 1920s. It is very slightly warm-toned, and in excellent condition. Just to the left of the flower's central stamen cluster some of the photographer's original retouching is visible if the print is examined very closely. There is some very minor discoloration in the margins of the print that does not intrude upon the image. None of these issues detracts in any way from the fine appearance of this rare vintage print.
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.

Imogen Cunningham began focusing her camera on plants and flowers in the early 1920s, and the image offered here, Magnolia Blossom, is one of the best-known images from this series.  Cunningham turned to botanical studies, in part, for practical reasons: as a mother of small children, her mobility was limited, and she was forced to find subject matter in and around her house.  Her garden provided the initial material for these studies.  As her interest increased, and her knowledge of botany grew, she looked further afield for subject matter.  From 1923 to 1925, she concentrated on photographing magnolia flowers.  Toward the end of this period she produced the image offered here, and a close-up view of the same flower's interior, entitled Tower of Jewels.

The print of Magnolia Blossom offered here is on matte-surface paper, as is appropriate for Cunningham's prints made in the 1920s.  Early in the 1930s, Cunningham made the switch--with Edward Weston, Ansel Adams, and other proponents of 'straight' photography--to paper with a glossy finish.