STEICHEN, Edward (American, 1879-1973). Matches and Match Boxes. [New York, 1926, 1984]. Silver gelatin print of matches and match boxes, originally taken in 1926; this print was made by George Tice in 1984. On mount. Print 9 1/4 x 7 1/2". Mount 20 x 16". With label on verso signed by Tice and Joanna Steichen. 

Steichen was one of almost 100 artists invited to design for the Americana Print series, which the Stehli Silk Company, a Swiss firm, intended for the American market...Steichen was quick to accept and later thanked [art director, Kneeland] Green 'for opening up this beautiful opportunity into a new field of photography.' In 1926 and 1927, Steichen prepared at least ten designs, which the company printed on fabric for women's dresses....A double-page spread in Vogue featured four of Steichen's designs. In Matches and Match Boxes, Steichen arranged partly open match boxes, then fanned single matches around them. The bursts of matches play off typical commercial fabric patterns such as palm fronds. But Steichen's pattern has some contemporary twists. The boxes are placed at regular intervals, while the matches around them are arranged irregularly. Much like the play in cubist still lifes, Steichen broke the rhythm by flipping over one of the boxes (top left corner), introducing typography into the pattern and showing the viewer the origin of the abstract design. Matches and Match Boxes also displays Steichen's characteristic bravura with lighting. By lowering the spotlights almost to the table surface, he made even the thin match cast a shadow. As in his Douglas lighter advertisements, the contrast between light and shadow in the silk pattern constructs the abstract armature of the design....The Vogue article declared that Steichen's designs were 'not only effective in themselves' but also 'undoubtedly the forerunners of a new school of industrial art.'" (Patricia Johnston, "Real Fantasies: Edward Steichen's Advertising Photography," p. 127-128)

Upper left corner of mount bumped. Fine.