Edward Steichen, ‘Improvisation- Osgood Perkins and Lee Tracy in 'The Front Page' for Vanity Fair’, 1928, Heritage Auctions
Edward Steichen, ‘Improvisation- Osgood Perkins and Lee Tracy in 'The Front Page' for Vanity Fair’, 1928, Heritage Auctions
Edward Steichen, ‘Improvisation- Osgood Perkins and Lee Tracy in 'The Front Page' for Vanity Fair’, 1928, Heritage Auctions

Condition Report: Dry mounted to board; 'Vanity Fair [...]' written in ink along the upper edge recto;;tape residue from previous mounting on mount verso; minor wear along the edges; silver mirroring; one folding crease to the lower right corner; scattered retouching along the edges and to the lower right quadrant; one small abrasion with loss upper center; some scratches and small indentations visible in raking light.

Signature: Titled in pencil by an unknown hand with the photographer's stamp on verso with the Museum of Modern Art Publicity Department return stamp and museum label affixed to verso.

Image rights: Courtesy of Heritage Auctions

About Edward Steichen

Though he is immortalized as one of the greatest photographers of his time, it was Edward Steichen's early roots as a painter that allowed him to so drastically influence the photographic medium. “The mission of photography is to explain man to man and each to himself,” he theorized. Steichen’s attempt and ultimate success to gain recognition for photography as an art form, alongside his contemporary and Photo-Secession cofounder Alfred Stieglitz, employed a Pictorialist approach distinguished by dreamlike, soft-focused images that reflected the accepted style and principles of other art forms. A later stint as an aerial photographer during WWI led Steichen to adopt a Modernist vision—he would turn to straightforward, clean lines in his work thereafter, moving on to work in commercial photography and become an acclaimed pioneer of fashion photography.

American, 1879-1973, Bivange, Luxembourg