Edward Weston

11 (of 12) photographs from the Fiftieth Anniversary Portfolio (Carmel: self-published, 1951), printed by BRETT WESTON from negatives by EDWARD WESTON under the latter's supervision, each mounted, initialed and dated in pencil on the mount, the portfolio stamp and sequential number in pencil and a 'Photography Collection of the Polaroid Corporation' label, with typed title and annotations and accession information in ink, on the reverse, 1924-46, printed in 1951; one in an edition of 100 (11)

Acquired from the photographer in September 1957 for the Library Collection

These prints are in generally excellent condition except as noted. The missing photograph is North Dome, Point Lobos. The plates are as follows: Cabbage Leaf, 1931 - In raking light, tiny deposits of original retouching are visible in the lower right corner of the image. The mount edges are bumped and there is a stray light red linear mark in the lower right mount corner. Eel River, 1937 - In raking light, a 1/8-inch horizontal impression is visible in the upper left quadrant. David H. McAlpin, New York, 1941 - In the center of the image, in the sky between the two buildings, a tiny loss of emulsion is visible. There are tack holes in the upper left and right corners of the mount and a few fingerprints at the edges. Eroded Rock, Point Lobos, 1930 - In raking light, small deposits of original retouching are visible. Nude, 1936 - Upon close examination, there is a tiny loss of emulsion in the lower right corner of the image and a 1-inch linear surface scratch near the sitter's thigh that appear to just barely break the emulsion. There are fingerprints on the mount edges and on the reverse. Wall Scrawls, Hornitos, 1940 Guadalupe, Mexico, 1924 - There are light graphite marks on the mount underneath the date and near the lower left corner of the print. Church Door, Hornitos, 1940 - Pervasive warm-toned droplet spots are visible on the front of the mount. The print itself shows only the scantest evidence of these droplets, which are not warm-toned and are only visible upon close examination in raking light. Also visible when the print is viewed this way are small linear deposits of black, and a single small deposit of red, ink on the door and doorjamb, as well as a curved linear scuff measuring roughly 4 inches. The bottom left corner of the mount is bumped. William Edmondson, sculptor, Nashville, 1941 "Willie," New Orleans, 1941 Dunes, Oceano, 1936 - Visible in raking light are tiny deposits of original retouching throughout the print and a barely visible ¼-inch horizontal scratch in the middle of the image.
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.