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拍品专文
Edward Weston records April 22, 1934 as the day when ‘a new love came into my life, a most beautiful one, one which will, I believe, stand the test of time’ (Nancy Newhall, The Daybooks of Edward Weston, Aperture Foundation, New York, 1973, p. 283). He was referring to Charis Wilson, a model who was introduced to him by Sonya Noskowiak.
Weston made eighteen negatives of Charis Wilson that fateful day, of which the three finest are represented in the Mann collection (Lots 36, 37, and 38). Contributing to the significance of these prints is what the images represented for Weston: ‘The first nudes of Charis were easily amongst the finest I had done, perhaps the finest… And I was lost and have been ever since. A new and important chapter in my life opened on Sunday afternoon, April 22, 1934.'
‘I must have peace to enjoy, fulfill, this beauty’ (Nancy Newhall, The Daybooks of Edward Weston II, Aperture, New York, 1973, p. 283). This excerpt is part of the last entry in Weston's journals. Charis remained his beloved wife, muse, and dearest confidant until the end of his life.
The present lot benefits from exceptional provenance and exhibition history. Weston entered ten prints of this image in his log; this particular print was gifted to the sculptor Pegot Waring, whose work he later photographed (Amy Conger, Edward Weston, fig. 851/1934). The mount bears a lovely dedicatory inscription. This print was included in the 1937 retrospective of Weston's work at the San Francisco Museum of Modern Art; an exhibition label remains on the backing board.
Weston made eighteen negatives of Charis Wilson that fateful day, of which the three finest are represented in the Mann collection (Lots 36, 37, and 38). Contributing to the significance of these prints is what the images represented for Weston: ‘The first nudes of Charis were easily amongst the finest I had done, perhaps the finest… And I was lost and have been ever since. A new and important chapter in my life opened on Sunday afternoon, April 22, 1934.'
‘I must have peace to enjoy, fulfill, this beauty’ (Nancy Newhall, The Daybooks of Edward Weston II, Aperture, New York, 1973, p. 283). This excerpt is part of the last entry in Weston's journals. Charis remained his beloved wife, muse, and dearest confidant until the end of his life.
The present lot benefits from exceptional provenance and exhibition history. Weston entered ten prints of this image in his log; this particular print was gifted to the sculptor Pegot Waring, whose work he later photographed (Amy Conger, Edward Weston, fig. 851/1934). The mount bears a lovely dedicatory inscription. This print was included in the 1937 retrospective of Weston's work at the San Francisco Museum of Modern Art; an exhibition label remains on the backing board.