Edward Weston

mounted, signed and annotated 'Contemporary Sculpture done by a brick-layer' and 'Glendale' in pencil on the mount, framed, circa 1926

Estate of Frances Toor, founder and editor of Mexican Folkways

Spencer Throckmorton Gallery, New York

This early print, on semi-glossy paper, trimmed to the image, and mounted to heavy card, is in generally excellent condition. There is the slightest silvering in the darkest areas of the print. Faint scratches and scuffs are only visible under raking light. The print is pulling away from the mount at the sides, but remains affixed at the corners. The mount is boldly signed and annotated in pencil. It is unevenly age-darkened and discolored. There are a few dark liquid droplets and foxing overall. The reverse of the mount is darkened in the area that corresponds with the placement of the print on the front.
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.

Accompanied by Tina Modotti and his son Brett, Edward Weston arrived in Puebla in June 1926 to begin working on a commission for Anita Brenner, for which he photographed ceramics, folkloric objects, and other artifacts.  Although the present image was ultimately not illustrated in Brenner’s classic 1929 volume, Idols Behind Altars, Weston described the experience of finding the stone angel in his journal on 4 July 1926:

‘A stone angel bearing a cross, which made such an impression that every curve and cut I recall without reference to my negative.  It was modern, we were told, – done last year by an “albañil” – a brick layer who recently died.  The world lost an artist!  I count this real discovery, – not the digging up of primordial ruins.  Here was something done in the grand manner, – with tenderness and love and power, – done by someone who felt stone and cut it with decisive command’ (Daybooks, Mexico, p. 169).