Edward Weston

mounted, signed, dated, initialed, and editioned '10/50' in pencil on the mount, titled in pencil on the reverse, 1930

Conger 616

Merle Armitage, The Art of Edward Weston (New York, 1932), pl. 26

Nancy Newhall, The Photographs of Edward Weston (The Museum of Modern Art, 1946), p. 17

Nancy Newhall, ed. The Daybooks of Edward Weston, Volume II, California (Aperture, 1973), pl. 7

Ben Maddow, Edward Weston: Fifty Years (Aperture, 1973), p. 147

Keith F. Davis, Edward Weston: One Hundred Photographs from the Nelson-Atkins Museum of Art and the Hallmark Photographic Collection (Kansas City, 1982), p. 20

Beaumont Newhall, Supreme Instants: The Photography of Edward Weston (New York, 1986), cat. 139

Therese Thau Heyman, ed., Seeing Straight: The f.64 Revolution in Photography (The Oakland Museum, 1992), pl. 43

This photograph is rendered in extraordinary three-dimensionality, from the hairs of the fuzzy inner choke to the thick outer petals. This early print is on semi-glossy paper and is in essentially excellent condition. In raking light, age-appropriate silvering is visible in the dark areas of the image. Upon very close examination, a few deposits of original retouching are visible overall. The print is mounted to buff-colored card, which is unevenly darkened and soiled. The lower edge of the mount is worn, with 2 attendant one-inch tears. There is a small loss to the lower left corner of the mount. On the reverse of the mount, there are 2 hinge remnants, one of which obscures the negative number, '28V,' which was originally written in pencil. The upper left corner is creased on the reverse, and there are fingerprints from handling. This print is number '10' in a projected edition of 50. Weston's negative log in the Center for Creative Photography, Tuscon, records prints numbered 1 through 19. In addition to two prints of this image in the Center for Creative Photography, Tucson, Conger locates prints in the following institutional collections: Harrison Memorial Library, Carmel; International Center of Photography at George Eastman House, Rochester; The J. Paul Getty Museum, Malibu; The Nelson-Atkins Museum of Art, Kansas City, Missouri; Oklahoma Art Center, Oklahoma City; and Special Collections, University of California, Santa Cruz, this last a Project Print.
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