emnants, er trimmed
unior Coa——n sports and other styles red——ed to
A Full fashioned s——hose—————ades 8 ½ to 10, $
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——. women’s brocade, satin boudoir slippers, brok
—pi———and-——e gowns, embroidered in——ite—
and leather hand ———s, ——uch and flat styles, now
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—ng and Davis —nameled Bags with metal——
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ored Was—— —ave Re—nants ——— grea —ari——at . .
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on —ows ——ncy sha——, ———er trimmed … .
orte French C——ile, Soap Special ——r Tues——y 15
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Text unobscured by (minus the) cherries, from Margrethe Mather, Cherries on Type, 1930, 1931, gelatin silver print (19.5 x 18.2 cm) from its presentation in Beth Gates Warren, her Margrethe Mather & Edward Weston: A Passionate Collaboration (Santa Barbara, 2001).
The same work is also attributed to Mather and William Justema, from the exhibition Patterns by Photography, M. H. deYoung Museum, San Francisco (1931).
Absence of wordspacing (that one might expect for justified type), absence of syntax, etc, incline one to the view that the type might be a setup of matter for advertising layout purposes (to be cut and pasted together with halftone or line art, for subsequent process work). The cherries — are just cherries.
Stems in letterforms and cherries; ligatures; other connections too? Reads well, aloud.
25 January 2013
tags: ekphrasis; ligatures; prohibitions; semblances; stems; Margrethe Mather; William Justema