platinum print, mounted, the photographer's estate stamp on reverse, 1922 (A Singular Aesthetic, pl. 16; Photographs, p. 66; L. A. Center for Photographic Studies, p. 22)

Christie's New York, 17 April 1997, Sale 8624, Lot 228

In this carefully-rendered platinum print, Outerbridge incorporates, with characteristic flair, the Pictorialist's affinity for capturing atmospheric effects and the Modernist's passion for detail. The print is in excellent condition. Upon close examination, the print has a subtle two-toned appearance that is very likely deliberate. Outerbridge experimented extensively with all of the many photographic media he worked with, and expanded the capabilities of standard photographic materials. The photograph has a subtler variation of the split-toning one sees in, for instance, certain gelatin silver prints by Richard Misrach. The print is on Outerbridge's characteristic thin board mount, with a debossed area into which the photograph has been carefully affixed. The mount is very slightly age-darkened, and shows some wear at the corners. There are several penciled notations, in various hands, on the reverse of the mount. The "Estate of Paul Outerbridge, Jr., POC#" is numbered "554." Other notations are "P0071," "POL554" [crossed out], "Page 70," "95" [circled], among others. There are the remnants of two linen-tape hinges on the reverse of the mount at the top edge.
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.

In this carefully-rendered platinum print, Outerbridge incorporates, with characteristic flair, the Pictorialist affinity for capturing atmospheric effects and the Modernist passion for detail.  Outerbridge's ability to straddle these two frequently oppositional styles is similar to that of his teacher, Clarence H. White, with whom he studied in 1921 and 1922. White's Telegraph Poles, made in 1903 and illustrated in Camera Work No. 3 (cf. Lot 57), presents a likely antecedent to Outerbridge's Hudson River Railroad Bridge.  In both images, White and Outerb🙈ridge have created diffusely focused, but rigorously composed, photographs from sites🎉 at the edge of the modern urban landscape. 

When Hudson River Railroad Bridge was taken, the young Outerbridge lived with his new wife on the top floor of his family's home on West 74^th Street.  While much of his work in 1922 was concentrated upon still-life studies (his celebrated Ide Collar was created in that year), he also photographed the city extensively.  In 1923, an exhibition of his New York City views was shown at the John Wan🅷amaker Gallery. 

At the time of this writing, i﷽t is believed that there are four prints of this image extant.