Front / Recto

  • Title Etienne Beöthy in His Studio
  • Negative Date 1928
  • Print Date 1928
  • Medium Gelatin silver print
  • Dimensions Image 3 9/16 x 3 1/8" (9.1 x 7.9 cm)
    Sheet 5 1/8 × 3 1/4" (13 × 8.2 cm)
  • Place Taken Paris
  • Credit Line Thomas Walther Collection. Grace M. Mayer Fund
  • MoMA Accession Number 1729.2001
  • Copyright © Estate of André Kertész

Back / Verso

  • Mount Type No mount
  • Marks and Inscriptions Signed in pencil on sheet recto, bottom left: A Kertész. Inscribed in pencil on sheet recto, bottom right: Paris.
  • Provenance The artist, Paris; to István (Étienne) Beöthy (1897–1961), Paris, c. 1928 [1]; to István Beöthy's wife, Anna Beöthy, Paris, 1961 [2]; to Galerie Wilde (Ann and Jürgen Wilde), Cologne, 1978 [3]; purchased by Thomas Walther, 1980 [4]; purchased by The Museum of Modern Art, New York, 2001.
    [1] Jürgen Wilde, letter to Simon Bieling, May 12, 2005.
    [2] Ibid.; and MacGill/Walther 2001(3), p. 10.
    [3] MacGill/Walther 2001(3), p. 10; and Wilde, letter to Bieling.
    [4] MacGill/Walther 2001(3), p. 10; and Wilde, letter to Bieling.

Back Printing

Detail showing Guilleminot manufacturer logo (horse’s head in horseshoe/star) with postal type printed in ink on the verso of the photograph. In image processing, contrast was adjusted to enhance the readability of the logo. The area of detail is 2 x 4.5 cm. Department of Conservation, MoMA

Surface

  • Surface Sheen Semireflective
  • Techniques Retouching (additive)
    Contact print
    Retouching (reductive)
  • PTM
    View of the recto of the artwork made using reflectance transformation imaging (RTI) software, which exaggerates subtle surface details and renders the features of the artwork plainly visible. Department of Conservation, MoMA
  • Micro-raking
    Raking-light close-up image, as shot. Area of detail is 6.7 x 6.7 mm. Department of Conservation, MoMA
    Raking-light close-up image, processed. Processing included removal of color, equalization of the histogram, and sharpening, all designed to enhance visual comparison. Department of Conservation, MoMA

Paper Material

  • Format Metric
  • Weight Double weight
  • Thickness (mm) 0.29
  • UV Fluorescence Recto no data
    Verso no data
  • Fiber Analysis Softwood bleached sulfite 98%
    Hardwood bleached sulfite 2%
  • Material Techniques Developing-out paper
    Back printing
    Photographic postcard
  • XRF

    This work was determined to be a gelatin silver print via X-ray fluorescence (XRF) spectrometry.

    The following elements have been positively identified in the work, through XRF readings taken from its recto and verso (or from the mount, where the verso was not accessible):

    • Recto: Al, Si, P, S, K, Ca, Zn, Sr, Ag, Ba, Pb
    • Verso: Al, Si, S, K, Ca, Fe, Zn, Sr, Ba, Pb

    The graphs below show XRF spectra for three areas on the print: two of the recto—from areas of maximum and minimum image density (Dmax and Dmin)—and one of the verso or mount. The background spectrum represents the contribution of the XRF instrument itself. The first graph shows elements identified through the presence of their characteristic peaks in the lower energy range (0 to 8 keV). The second graph shows elements identified through the presence of their characteristic peaks in the higher energy range (8 to 40 keV).

    Areas examined: Recto (Dmax: black; Dmin: green), Verso or Mount (blue), Background (red)
    Elements identified: Al, Si, P, S, K, Ca, Ag, Ba
    Areas examined: Recto (Dmax: black; Dmin: green), Verso or Mount (blue), Background (red)
    Elements identified: Fe, Zn, Sr, Ag, Pb

In Context

Related Images

Etienne (Istvan) Béothy. Project for a Monument “Aranysor” (Golden Row). 1919. Brass and copper, 17 1/2 x 5 x 5" (44.5 x 12.7 x 12.7 cm). The Museum of Modern Art, New York. The Riklis Collection of McCrory Corporation
André Kertész. Satiric Dancer. 1926. Gelatin silver print, 13 5/8 x 10 5/8" (34.7 x 27 cm). The Museum of Modern Art, New York. Gift of the photographer. © Estate of André Kertész

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