LEWIS BALTZ | SANTA CRUZ
20,000 - 30,000 USD
flush-mounted, the edges inked, mounted again, credit and annotations in pencil on the reverse, 1970; accompanied by old frame backing with typed credit and Santa Barbara Museum of Art exhibition labels (2)
5⅝ by 8⅜ in. (14.3 by 21.1 cm.)
The photograph is in generally excellent condition. The print is trimmed to the image and flush-mounted, possibly to another sheet of processed photographic paper as was the artist's practice. The corners are clipped diagonally and the edges are accentuated with ink. It is mounted again to stiff card, measuring 11 by 11 inches. On the reverse of the mount, 'Lewis Baltz,' 'N. D.' and '#621' are written in an unidentified hand in pencil.
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 photographer to Leland Rice, scholar, curator and photographer, a teaching colleague at Pomona College and Claremont Graduate School, California, 1973
Lewis Baltz, The Prototype Works (Göttingen, 2005), pl. 29
Lewis Baltz, The Prototype Works (Göttingen, 2011), pl. 41
Long Beach, The Art Galleries, California State University, The Photograph as Artifice, April 1978 and travelling thereafter to:
El Cajon, Grossmont College Art Gallery, November - December 1978
Carmel, Friends of Photography Sunset Center, December 1978 - January 1979
Santa Barbara Museum of Art, February - March 1979
Object quality was of prime importance to Baltz. His exhibition prints were dry-mounted flush to a second piece of archivally processed photographic paper. The corners were clipped diagonally and the edges of the photograph were blackened with India ink. The photograph was then mounted to board slightly warmer in tone than the print. This presentation method ensures the photograph stands apart from, rather than sinks into, its surroundings.