Lot 59
  • 59

Harry Callahan 1912-1999

Estimate
10,000 - 15,000 USD
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Description

  • Harry Callahan
  • eleanor, lake michigan
mounted, signed by the photographer in pencil on the mount, 1952

Provenance

The photographer to Edwynn Houk Gallery, Chicago

Acquired by Michael H. Glicker from the above, 1982

Christie's New York, 9 October 1997, Sale 8748, Lot 70

Acquired by Nancy Richardson from the above

Condition

This print, with a fine strata of varying tones, is in generally excellent condition. Visible upon close inspection is a small circular area in the upper left sky, ΒΌ-inches in diameter, where the emulsion has broken, creating a cracklure effect. In high raking light, three hairline scratches are visible at the upper left edge, and two smaller scratches are visible in Eleanor's legs and just to her right. These are all extremely small, do not break the emulsion, and do not detract from the overall attractive appearance of this print. The photograph is mounted to a thin, cool white board. When examined with a black light, this print does not appear to fluoresce.
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.

Catalogue Note

According to the catalogue for the Christie's New York sale from which the present print was acquired, Callahan wrote to Chicago gallerist Edwynn Houk in August of 1982, stating that the print was

'a fine, vintage gelatin silver print which I made shortly after making the negative.  The print remained in a box until the early 1960s, when I chose to mount it so that it could be exhibited.'