Edward Weston

titled and dated by the photographer and annotations '1—pages D & E—June 1930' and number '20' in another hand in pencil on the reverse, 1929, printed before March 1930 ('The Photography of Edward Weston,' Touring Topics, June 1930, pp. D and E)

This print, on paper with a semi-glossy surface, is in generally very good to excellent condition. The edges are slightly rubbed, and there is a small crease in the lower right corner.
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When Edward Weston made this print of his negative 16P to accompany Merle Armitage's article about his work in Touring Topics, he was experimenting with a glossy paper for publicaiton purposes.  It was a revelation and suited his transition from the pictorialist aesthetic, embodied in textured and matte-finish papers, to a sharper, more focused perspective.  He wrote in his daybook on March 15, 1930, about the experience:

'Long ago I thought of printing my own work,--work not done for the public--on high gloss paper.  This was some years back in Mexico: but habit is so strong that not until this last month did I actually start mounting glossy prints for my collection.

'I had to make some twenty such prints for an article in Touring Topics--they purchased thirteen.  When I compared the returned balance with the same copies in my portfolio, I made my decision at once.  It will take a long time to print even my favorite negatives again:  I imagine two thirds of my older work will never be reprinted, and too, the expense would be prohibitive.  But I have already made a showing, and hope my next exhibit will be on glossy paper.  What a storm it will arouse!--from the 'Salon Pictorialists.'  It is but a logical step, this printing on glossy paper, in my desire for photographic beauty.  Such prints retain most of the original negative quality.  Subterfuge becomes impossible, every defect is exposed, all weakness equally with strength.  I want the stark beauty that a lens can so exactly render, presented without interference of 'artistic effect.'  Now all reactions on every plane must come directly from the original seeing of the thing, no secondhand emotion from exquisite paper surfaces or color:  only rhythm, form and perfect detail to consider.  Honesty unembellished--first conceptions coming straight through unadulterated--no suggestion, no allegiance to any other medium . . . ' (Daybooks, California, p. 147).