Edward Weston

mounted, signed, dated, and editioned '3-50' in pencil on the mount, numbered '153 N' in pencil on the reverse, 1934

Private Collection, California

Howard Greenberg Gallery, New York, 2004

Conger 814

Beaumont Newhall, Supreme Instants: The Photography of Edward Weston (Boston, 1986), pl. 41

This early print is in generally excellent condition. In high raking light and upon extremely close examination, the following are visible: several tiny deposits of original retouching; a few pin-point-sized impressions in the sitter's torso and near the left edge, none of which appear to break the emulsion; and a small, superficial scratch near the sitter's breast. The print is mounted to slick white board. At the print's periphery and below the signature, date, and edition number, there is faint offsetting from the mat window. There are a few small, faint deposits of soiling primarily in the upper portion of the mount, but overall it is clean. The corners of the mount are bumped, and the lower left corner is creased with the top paper-ply lifting slightly. On the reverse of the mount is a scattering of small rust-colored deposits of indeterminate nature. The following is written in an unidentified hand in pencil on the reverse: 'L-158-60' and 'MEW.179.Y.'
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.

Prints of this image are rare.  Weston recorded only three prints of Gretchen in his negative log. Conger locates only one print, on loan to the Center for Creative Photography, Tucson, by Sonya Noskowiak's brother Arthur.