ferrotyped, mounted, 1936

Bruce Silverstein Gallery, New York, 2005

This ferrotyped gelatin silver print is in generally excellent condition. As is typical of the ferrotyping process, a slight unevenness of the generally glossy surface and minor pitting are visible. Upon close examination, linear impressions and handling creases are also visible. There are a few linear deposits of retouching, one in the lower right of the seat and several in the chair back. The mount is slightly age-darkened. There are several faint smudges and rust-colored deposits along the lower edge. The corners are bumped and there are a few tiny tears and minor losses to the upper paper-ply of the mount. The following are written in pencil on the reverse of the mount in an unidentified hand: '20,' 'NO338,' and 'AKE-00304-SP.' When examined under ultraviolet light, this print does not appear to fluoresce.
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 1937, shortly after his arrival in New York the previous year, André Kertész had his first solo exhibition at PM Gallery on West 37^th Street.  André Kertész, An Exhibition of 60 Photographs was held in an empty room of the offices of The Composing Room, a typography business that also held lectures and clinics devoted to typographic design and published a bi-monthly periodical.  The gallery became a social meeting place as well as an opportunity to encounter the work of European artists.  Although no checklist survives for this exhibition, two photographs taken of the 1937 installation illustrated in Sandra Phillips' authoritative book on the photographer, André Kertész: Of Paris and New York, clearly show that a print of this image was exhibited (pp. 92 and 106).  Consistent with the photographer's early exhibition presentation, the photograph offered here is mounted to a wide cream mount and is numbered in pencil on the reverse.