PAUL OUTERBRIDGE, JR.
color carbro print, mounted, signed and annotated 'Property of Paul Outerbridge, Jr. / 49 W. 74th St.' in ink, a Laguna Beach Museum of Art label, a Smithsonian Institution exhibition label, and a typed caption on the reverse, 1936
15¾ by 11½ in. (40 by 29.2 cm.)
This vivid carbro print is in generally excellent condition. The colors remain saturated with no apparent fading. Upon examination, there are expertly applied deposits of original retouching: a one-inch linear deposit and two small deposits in the upper right corner; a deposit on an apple at the lower right; and a deposit by the knife at the lower edge. There are linear marks at the upper and lower edges, each approximately 2-1/2-inches. There is some inactive adhesive residue at the lower edge of the image that is visible only in raking light. There are graphite marks on the image to indicate reproduction cropping.
As with other Outerbridge carbro prints, this photograph was likely originally overmatted and there is inactive brownish residue in the margin and on the mount. It does not affect the appearance of the print. Stray pigment is visible in the margins as result of processing.
The reverse of the mount is inscribed by the photographer in ink, 'Property of Paul Outerbridge, Jr. / 49 W. 74th St.' A Smithsonian Institution, Washington, D.C., exhibition label is stamped 'MAR 1959' and 'APR 1959.' A label from the Laguna Beach Art Association is partially covered with a typed label that reads 'Permanent Collection of Laguna Beach Museum of Art, 307 Cliff Drive, Laguna Beach / 68.29.12 [handwritten in ink] Thanksgiving Scene 15 3/4 x 11 1/2 / Paul Outerbridge Jr. b. N.Y. City 1898 d. 1958 / Gift of Lois Outerbridge December 30, 1968.' A small typed label reads: 'Appeared originally as the frontispiece / HOUSE BEAUTIFUL Magazine 1936 or 37.' The mount is annotated in an unidentified hand in ink '1936' and 'E [circled].' It is annotated in an unidentified hand in pencil '#375.' It is stamped '742' twice. There is tape residue and soiling on the reverse.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
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 INCLUDED IN THE CATALOGUE.
By descent to Lois Outerbridge, the photographer's widow
Gift of the above to Laguna Beach Museum of Art, 1968
Christie's New York, 3 October 1996, Sale 8482, Lot 298
Washington, D. C., The Smithsonian Institution, Paul Outerbridge, Jr., March - April 1959
Dorothy Blake, 'The Stuffing and the Fixings,' House Beautiful, November 1936, p. 32 (likely this print)
Elaine Dines, ed., Paul Outerbridge: A Singular Aesthetic, Photographs & Drawings 1921-1941 (Laguna Beach Museum of Art, 1981), no. 375, p. 186 (this print)
This photograph may be unique. No other prints were in the photographer's estate at the time it was gifted to Laguna Beach Museum of Art in 1968.