- 46
Edward Weston (1886 - 1958)
Description
- Edward Weston
- Piramide del Sol, 1923
- photograph on paper
Vintage silver print.
Literature
Conger 108;
Ben Maddow, Edward Weston. Fifty Years. The Definitive Volume Of His Photographic Work. Illustrated Biography, New York, Aperture, 1973, ill. p. 113;
Amy Conger, Edward Weston in Mexico. 1923-1926, Albuquerque, San Francisco Museum of Art/ University of New Mexico Press, 1983, ill. fig. 18;
R. H. Cravens (éd.), Edward Weston (Masters of Photography 7), New York, Aperture, 1988, ill. p. 27;
Carole Nagar/ Fred Richtin (éd.), Mexico through Foreign Eyes. 1850-1990. Mexico visto por ojos extranjeros. 1850-1990, New York/Londres, Norton, 1993, ill. p. 219;
Terence Pitts/ Manfred Heiting (éd.), Edward Weston. 1886-1958, Cologne, Taschen, 1999, ill. p. 65;
Tina Modotti & Edward Weston: Mexican Years, cat. expo. Throckmorton Fine Art, New York, 1999, ill. pl. 32;
Anita Brenner, Idols behind Altars: Modern Mexican Art and its Cultural Roots, Mineola, Dover Publications, 2002, ill. pl. 11;
Sarah M. Lowe, Tina Modotti & Edward Weston. The Mexico Years🧜, Londres/ New York, Merrell, 2004, ill. pl. 38 (variante).
Condition
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
'This is a striking e꧅xample of a photograph in which h🐲ighlights in the clouds and grass and the subtle shadow details on the masonry work absolutely sing on a semi-glossy paper, but are totally flat and uninteresting on a mat paper.' (Conger, cat. fig. 108)