Tirage argentique d'époque. Au verso, titré three pots au crayon de la main de Tina Modotti.

Vintage silver print. On the reverse, titled three pots in pencil by Tina Modotti.

Conger 200;
Mexican Folkways, n°6 May 1926, s.p.;
Amy Conger, Edward Weston in Mexico. 1923-1926, Albuquerque, San Francisco Museum of Art/ University of New Mexico Press, 1983, ill. fig. 25;
Beaumont Newhall, Supreme Instants. The Photography of Edward Weston, Boston, Little, Brown and Company, 1986, ill. pl. 23;
Terence Pitts/ Manfred Heiting (éd.), Edward Weston. 1886-1958, Cologne, Taschen, 1999, ill. p. 78;
Theodore E. Stebbins/ Karen Quinn/ Leslie Furth, Edward Weston: Photography and Modernism, cat. expo. Museum of Fine Arts Boston, Boston/ New York/ Londres, Bulfinch Press/ Little, Bown and Company, 1999, ill. fig. 1, p. 81;
Sarah M. Lowe, Tina Modotti & Edward Weston. The Mexico Years, Londres/ New York, Merrell, 2004, ill. pl. 48.

This print is in very good condition. It is printed on a single-weight semi glossy paper. With a slightly elevated dent of approx. 3 cm visible in raking light.
"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."

A l'heure de la rédaction de ce catalogue, six autres tirages nous étaient connus.

'Came Frances, May and René (D'Harnoncourt) – René had yet to see my work. He burst into superlatives, excited gesticulations: "The modern painters are all off. They have chosen the wrong medium to express their ideas – but they would not dare admit so if they saw these photographs. This print (Three Ollas of Oaxaca) is the beginning of a new art."' (Daybooks, 29 août 1926, p. 188.)