Lot 157
  • 157

Henry Wessel, Jr.

Estimate
8,000 - 12,000 USD
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Description

  • Henry Wessel, Jr.
  • 'WALAPAI, ARIZONA'
  • Gelatin silver print
  • 8 1/2 x 12 1/2 inches
signed, titled, and dated in pencil on the reverse, 1971, printed later

Provenance

Gallery Luisotti, Santa Monica, 2001

Literature

Henry Wessel, Odd Photos (Göttingen, 2006), back cover and p. 35

Thomas Zander, ed., Henry Wessel (San Francisco Museum of Modern Art and Die Photographische Sammlung, 2007), pl. 35

John Szarkowski, American Landscapes (Museum of Modern Art, 1981), p. 71

Condition

This print, on semi-glossy double-weight paper, is in generally excellent condition. It is signed 'Henry Wessel.'
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.

Catalogue Note

Henry Wessel was one of ten photographers whose work was featured in the influential 1975 Eastman House exhibition, New Topographics: Photographs of a Man-altered Landscape. Wessel's photographs, along with ones by Lewis Baltz (Lot 158), Stephen Shore (Lots 159 and 160), Bernd and Hilla Becher (Lot 162), and others, comprised a new approach to photographing the rapidly changing post-industrial landscape.

"The word topographic is used in the title because it refers only to a detailed and accurate description of a place or region, whether it takes the form of a map, a paragraph or a photograph.  The viewpoint is anthropological, rather than critical, scientific rather than artistic.  In short, the photographers have allowed the subjects to speak for themselves."

George Eastman House, wall text for New Topographics:  Photographs of a Man-altered Landscape, 1975