emnants, er trimmed
unior Coa——n sports and other styles red——ed to
A Full fashioned s——hose—————ades 8 ½ to 10, $
Pai——o—n’s pumps, straps, oxford ties, no————si
——. 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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———‘s White line— kerchiefs fine cot—— he——— titch
—ng and Davis —nameled Bags with metal——
Yards ——nch Cre———hiffon, black ——ite and co——
———ds 40-in—— washable ———— flat crep—— 30 colo—
—h Pr———d Silke Crepe, floral and co———entional desig
—emnants ——— Wool Remnan —n usable ——gths
ch———in colored, ——e e——e voiles, m——y shade——
ored Was—— —ave Re—nants ——— grea —ari——at . .
———otton Prints, Ze——yr and others, for summer—
—ens” sanitary napkins, cellulose filling, 12 to box
on —ows ——ncy sha——, ———er trimmed … .
orte French C——ile, Soap Special ——r Tues——y 15
—n Huch Travels, damask ——rders, hem——ch—d, 1—
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.
ekphrasis; ligatures; prohibitions; semblances; stems; Margrethe Mather; William Justema