Edward Weston

mounted, signed, dated, and editioned '9-50' in pencil on the mount, numbered '142 N' in pencil on the reverse, framed, 1934

Collection of Sonya Noskowiak

Fraenkel Gallery, San Francisco

Private Collection, 1993

Sotheby's New York, 23 April 2003, Sale 7885, Lot 142

San Francisco Museum of Modern Art, Supreme Instants, and traveling to Seattle, San Diego, New York, Fort Worth, Los Angeles, and numerous other venues, 1986-90

Beaumont Newhall, Supreme Instants: The Photography of Edward Weston (Boston, 1986), cat. 58 (this print)

Conger 836

Frances Baer, 'This is Edward Weston,' U. S. Camera, April 1948, p. 17

Theodore E. Stebbins, Jr., Weston's Westons: Portraits and Nudes (Boston: Museum of Fine Arts, 1989), fig. 75

Theodore E. Stebbins, Jr., Karen Quinn, and Leslie Furth, Edward Weston: Photography and Modernism (Boston: Museum of Fine Arts, 1999) pl. 66

This print represents the ideal early state of this Edward Weston nude from 1934. Printed on paper with a glossy surface and affixed to a slick white mount, the photograph is fully signed and dated on the mount. This print, number '9' in a projected edition of 50, is in generally very good condition. Upon close examination in raking light, a number of small scratches, impressions, and tiny deposits of original retouching are visible overall. These are not immediately apparent when viewing the print normally, and do not detract in any way from the overall fine appearance of this impressive print. The print's corners are bumped, and there is a small loss of emulsion along the lower right edge that has been retouched. The slick white mount is clean. 'EW. 112. X' is written in an unidentified hand in pencil on the lower edge of the mount. The reverse of the mount is rubbed at its periphery, with a few small losses of the upper paper-ply. The following is written in an unidentified hand in pencil on the reverse: '55 (circled) AN' and '76:010: 055.'
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 addition to the two prints in the Center for Creative Photography, Tucson, Conger locates only four prints in these institutions: Art Institute of Chicago; Indiana University Art Museum, Bloomington; Krannert Art Museum, University of Illinois, Champaign; and the University of California, Santa Cruz, this last a Project Print.