Edward Weston

mounted, signed, dated, and editioned '2/50' in pencil on the mount, with date and negative number '58 V' in pencil on the reverse, framed, 1933

David van Riper, El Mochuelo Gallery, Santa Barbara

Howard Greenberg Gallery, New York, 2007

Conger 723

Ben Maddow, Edward Weston: Fifty Years (Millerton, 1973), p. 150 (inverted)

Theodore E. Stebbins, Jr., Karen Quinn, and Leslie Furth, Edward Weston: Photography and Modernism (Museum of Fine Arts, Boston, 1999), pl. 42 (inverted)

Jennifer A. Watts, ed., Edward Weston: A Legacy (San Marino: The Huntington Library, Art Collection, and Botanical Gardens, 2003), p. 110, pl. 4

Amy Conger notes that Weston made seven studies of ‘a most amazing white radish’ given to him by the painter Henrietta Shore, who had previously loaned him the nautilus shell which he photographed so extensively beginning in 1927 (Daybooks, California, p. 271).  For the radish series, Weston experimented with the position of his camera and the placement of the sinewy radish upon the grass. 

While Weston recorded only two prints of ‘58 V’ in his negative log, Conger locates 6 prints in these institutional collections: Center for Creative Photography, Tucson; Art Institute of Chicago; The Huntington Library, San Marino; Krannert Art Museum, University of Illinois; University of California, Los Angeles; and the University of California, Santa Cruz, this last a Project Print.  Prints from this series rarely appear at auction, and at the time of this writing it is believed that only one print of ‘58 V’ has previously been offered.