Edward Weston

mounted, signed, dated, and numbered '2/50' by the photographer in pencil on the mount, titled, numbered '30-A,' and inscribed 'To my beloved Sister, devotedly Brother, Xmas 1935,' on the reverse, matted, 1933, printed no later than 1935, no. 2 in a projected edition of 50 

The photographer to his sister, Mary Weston Seaman, 1935

By descent to her daughter, Jeannette Seaman

By descent to her nephew, John W. Longstreth

The Dayton Art Institute, Edward Weston's Gifts to His Sister, January - March 1978, and traveling to:

New York, International Center of Photography, July - September 1978; and

The Oakland Museum, February - March 1979

The Dayton Art Institute, Edward Weston: A Photographer's Love of Life, February - July 2004, and traveling to:

Oregon, Portland Art Museum, September - November 2004

Omaha, Joslyn Art Museum, January - April 2005; and

Rochester, George Eastman House, April - September 2005

This print:

Kathy Kelsey Foley, Edward Weston's Gifts to His Sister (The Dayton Art Institute, 1978, in conjunction with the exhibition), p. 46

Alexander Lee Nyerges, Edward Weston: A Photographer's Love of Life (The Dayton Art Institute, 2004, in conjunction with the exhibition), pl. 27

Other prints of this image:

Conger 745

Nancy Newhall, ed., The Daybooks of Edward Weston, Volume I, California (Aperture, 1973), pl. 31

This photograph, on semi-glossy paper, is in generally very good to excellent condition. Upon close inspection, light sunning is visible along the print edges. In raking light, small deposits of the photographer's original retouching, and a few lightly scattered pencil-point-sized impressions, are visible overall. These are minor and do not affect the overall appearance of the photograph. The photograph's mount is slick and white on the front, and smooth and beige on the reverse. At the edges of the front of the mount are 6 small, approximately 1-inch, strips of shiny adhesive tape from a previous matting. The mount edges are lightly rubbed, and there is a 1/2-inch tear at the center of the left edge. These do not affect the image. On the reverse, there are three small areas where the mount has been abraded from previous hinges.
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.

This photograph, a Christmas gift to Weston's sister in 1935, was taken in the summer of 1933 at the Taos Pueblo in northern New Mexico.  Taos, an ancient pueblo constructed nearly one thousand years ago, is the oldest continuously inhabited community in the United States.  To this day, Taos observes a largely traditional lifestyle that can be seen in the kivas and rounded bread ovens pictured here.  The pueblo consists of many multi-storied adobe structures, a deep reddish-brown that echoes the mountainous desert landscape. 

Weston traveled to New Mexico for the first time with fellow f/64 members Willard Van Dyke and Sonya Noskowiak.  In his daybook, Weston spoke with excitement about the trip, 'We, Willard, Sonya and I, have returned from N. Mexico . . . I have some fine new work; landscapes with gorgeous heavens--I was continuously reminded of old Mexico--details of various pueblos,--the old church at Laguna, the perfectly formed and functional ovens against equally perfect walls of adobe, some few rock details and one of a juniper; but mostly open landscape,--for in N. Mexico the heavens and earth become one . . . ' (Daybooks, California, 7 July 1933).  The photograph offered here reflects Weston's affinity for framing and formal arrangement, as well as his ability to capture the subtle play of light and shadow, and color and texture.  

In addition to a print by Cole Weston from his father's negative in the Edward Weston Archive at the Center for Creative Photography, Tucson, Conger locates a print in the Huntington Library, San Marino, and a Project Print at Santa Cruz.  Weston's negative log at the Center for Creative Photography indicates that, of the projected edition of 50 from this negative (30A), only five prints were made.  Number 3 out of 50, however, is listed as 'destroyed.'