Baron Adolf de Meyer

oversized warm-toned print, flush-mounted to brown-paper-backed board, title and annotation in pencil on the reverse, framed, circa 1910 (Camera Work Number 40; Vanity Fair, May 1915, p. 39)

Sotheby's New York, The Collection of Baron De Meyer, 20 October 1980, Sale 4437M, Lot 76
Nova Gallery, Vancouver
Acquired from the above by the present owner

This large, warm-toned print, on matte-surface paper with a rich, velvety surface, is in generally very good condition. The corners are bumped due to wear. The edges are slightly worn and there are a few minor chips at the periphery. The print has undergone conservation, which appears to mainly have consisted of meticulous inpainting of various small losses. On the reverse of the mount, there are paste and white fibrous adhesions along the upper edge, suggesting that it was previously affixed to another mat or mount. Also on the reverse is a small white label with '127' written in an unidentified hand in blue ink.
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 in this and the following lot came originally from a now-legendary Sotheby's auction of De Meyer's personal collection of photographs.  In 1980, a locked steamer trunk, containing a trove of De Meyer images, had been purchased in a Los Angeles warehouse sale of unclaimed property.  The trunk was traced back to De Meyer's late son Ernest, who had deposited in the warehouse photographs, camera equipment, and many of the photographer's personal effects some thirty years before.  The Sotheby's sale that followed remains the largest and finest selection of De Meyer's work ever to appear at auction.