Photo by Richard Misrach, Arizona #55, 1977,silver gelatin print. Christies provenance, Sale 1825, April 24th, 2007,lot 420.The work measures 15" x 15 "(sight to the mat), it obviously extends further under the mat. The frame is 24" x 26"

Davids notes: Collection of Mary Kaplan. Mary Kaplan was the original purchaser of this lot at Christies, and it has been in her possession ever since. The back was never opened, and the original Christies labels are still there.

Provenance
Mary Kaplan collection, NYC. Columbia University Press published a book on the Kaplan family collection in 1981(The Alice M Kaplan Collection, cataloged by Linda Bantel and published by the Advisory Council of the Dept of Art History and Archaeology, Columbia University, 1981.Printed by the Steinhour Press, Distributed by Columbia University Press.).The collection includes museum quality paintings and drawings by Edgar Degas, Egon Schiele, Ammi Phillips. Giorgio Morandi and John Peto, as well as other 20th century masters. Mary Kaplan is the daughter of Alice Kaplan.

Richard Misrach
(Source: wiki) Richard Misrach (born 1949) is an American photographer. Nancy Princenthal has said that he is firmly identified with the introduction of color to 'fine' art photography in the 1970s.

David Littlejohn of The Wall Street Journal calls Misrach the most interesting and original American photographer of his generation, describing his work as running "parallel to that of Thomas Struth and Andreas Gursky, two German contemporaries." Littlejohn notes that all three used a large scale color format that defied the expectations of fine art photography at the time.

Misrach is widely recognized as one of this centurys most internationally acclaimed photographers. He has photographed the deserts of the American West, and made a series documenting the changes brought to bear on the environment by various man-made factors such as urban sprawl, tourism, industrialization, floods, fires, petrochemical manufacturing, and the testing of explosives and nuclear weapons by the military. Curator Anne Wilkes Tucker writes that Misrachs practice has been driven by issues of aesthetics, politics, ecology, and sociology. In a 2011 interview, Misrach noted: "My career, in a way, has been about navigating these two extremes - the political and the aesthetic. Describing his philosophy, Tracey Taylor of The New York Times writes that Misrachs images are for the historical record, not reportage.

Good condition overall