László Moholy-Nagy

photogram, a unique object, signed and dated in ink on the reverse, 1929

Sotheby’s New York, 26 and 27 April 1989, Sale 5833, Lot 191

Jane Corkin Gallery, Toronto, 1995

Herbert Molderings, Floris M. Neusüss, and Renate Heyne, Moholy-Nagy: The Photograms: Catalogue Raisonné (Ostfildern, 2009), fgm 290 (this unique object)

This photograph is on substantial double-weight paper with a velvety matte surface. The photograph exhibits the full tonal range: from deep blacks to bright cream highlights. The faint outlines of shapes within the mid-gray tones suggest that Moholy may have exposed this photogram twice, moving the object on the photographic paper between exposures. This unique photogram is essentially in excellent condition. There are small creases in the lower left and upper left corners that have been expertly repaired and retouched --- this is only visible upon close examination.
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.

The sole subject of this unique photogram is a sextant, an instrument used to measure distance and elevation by surveyors and sailors.  Rather than creating a literal account of the sextant by placing it squarely down on the photographic paper, Moholy has placed the instrument at an angle, thus exaggerating its shape.  The paper was exposed to light at least twice, changing the orientation of the sextant between exposures, as evidenced by the faint echoes of its shape visible in the white and gray portions of the image.   This graphic composition is one of the few in Moholy-Nagy’s photogram oeuvre in which only one object was used.  The simplicity of this approach, however, does not decrease the complexity of the resulting image. 

The bold diagonals created by Moholy’s manipulation of the sextant relate to his work in both photography and painting and show his alliance with Constructivism.  The unconventional angle of the sextant, too, is consistent with many of Moholy’s camera photographs in which he photographed from especially high or low vantage points to render scenes in a new way.  He has done much the same here, recontextualizing an antiquated instrument within an entirely modern format.