ANDREW BUSH | Untitled (Selected Envelopes)

a group of 3 chromogenic prints, each encased to the photographer's specifications in an antique wooden view plate holder or printing frame, 2 signed, dated, editioned '3/15,' and numbered '#59' or '#161' in ink on the reverse, 1994-95, each one from an edition of 15 (3)

Julie Saul Gallery, New York, 1996

These chromogenic prints are in generally excellent condition. The antique wooden view plate holders/printing frames are in varying condition, as found by the photographer. Envelope E. E., image 11 by 7 in. (white envelope against red background): The photograph is enclosed in an Eastman View Plate Holder. '2' is written on the front on the upper portion of the view plate holder, and '1' on the reverse, both in pencil. Envelope #59, image 5 by 4 in. (brown envelope against green background): 'Empty' is written on the reverse of the view plate holder in red crayon. Envelope #161, image 3 3/4 by 6 in. (white envelope against white background): It is enclosed in an Eastman Printing Frame for 3 1/4 x 5 1/2 negatives.
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.

‘I wanted to draw attention to the expectations that develop from our preconceptions surrounding the shape in which a message is delivered. The envelopes are framed in contact printing frames, a photographic tool for producing the latent image on a piece of paper.  The device or frame itself is an object with spring clasps that allow it to be opened and closed. I wanted the subject of the photograph, the envelope, to extend it’s meaning into the object, the frame that held it, thereby making the photo into an object’ (interview with the photographer, ‘Andrew Bush: Eye on the Road,’ Musée Magazine, 2015, No. 11, p. 57).