Edward Weston

mounted, signed, dated, initialed, and numbered '7/50' by the photographer in pencil on the mount, titled by him and dated and inscribed 'For Gerry—fine photographer, Brett—1963' by Brett Weston, the photographer's son, in pencil on the reverse, matted, 1927, no. 7 in a projected edition of 50 

The photographer to Brett Weston, his son

Acquired by Gerry Sharpe from the above, 1963

Acquired by Virginia and Ansel Adams from the above

By descent to the present owners

'The Photography of Edward Weston,' Touring Topics, June 1930

This delicate vegetable study has subtle shifts in tone and soft highlights that give the image a great sense of three-dimensionality. The photograph is on paper with a slightly glossy finish, and is in generally very good condition. In raking light, the following are visible: a small number of scattered light surface scratches, each approximately 1/16-to 1/4-inch long; and a few small indentations that do not break the emulsion. Slight silvering is visible along the edges of the print and the darkest areas of the leek tops. The photograph is mounted to a beige board that is lightly age-darkened along the print's periphery. The bottom edge has some minor wear in the center. Adhered to the top of the left and right edges on the front of the mount is a 1½-inch long piece of tissue. The back of the mount is lightly age-darkened.
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 photograph offered here, a rhythmic arrangement of leeks in a row, is a scarce image from Edward Weston's series of iconic still-life studies of vegetables and shells.  Made in 1927, Leeks dates to the very beginning of his work with this subject matter.  Like other images Weston made that year--including his most famous nautilus shell studies, his first pepper study, and his images of chard--Leeks shows the photographer's intense concentration upon the form of his subjects.   In these still life studies, Weston frequently experimented with backgrounds of differing texture and tonality, and in Leeks he has used rough wooden shingles whose vertical grain echoes that of the leeks.  The intersecting patterns of their leaves is reminiscent of the woven grass toys, baskets, and mats Weston photographed in Mexico earlier in the 1920s. 

This photograph was originally acquired from Edward Weston by his son, the photographer Brett Weston.  Brett, in turn, gave it to the young photographer Geraldine 'Gerry' Sharpe in 1963.  The photograph was later acquired from Sharpe by Ansel and Virginia Adams.  Sharpe had worked for the Adamses, at Best's Studio with Virginia in the 1950s, and as Ansel's occasional assistant in the late 1950s and '60s.  Today Sharpe is perhaps best known as the subject of Adams's photograph, Gerry Sharpe, Ouray, Colorado, which he included in his final portfolio, Portfolio VII, published in 1976. 

The Edward Weston Archive at the Center for Creative Photography in Tucson, Arizona, does not own a print of this image.  As of this writing, the print offered here is only the second print of Leeks to appear at auction.  The other, an unmounted print reproduced in Touring Topics magazine, was offered in these rooms on 7 April 1995 (Sale 6684, Lot 39) and is now in the collection of Michael Mattis and Judith Hochberg.