Minor White, ‘Empty Head’, Neg. date: 1962, Alan Klotz Gallery

Mounted to board with inscription in pencil on verso: “A memento pertaining to a sense of sending”. Signed again beneath the inscription.

Signature: Signed in margin on recto of mount.

From the collection of Louise March, the director of Rochester Folk Art Guild’s, East Hill Farm, outside of Rochester, NY. She was a disciple of G.I. Gurdjieff, and was Minor White’s spiritual advisor. Their arrangement was that when Minor made a photograph he liked, he would bring it to her and they would discuss it. Usually he gave these prints to her as gifts. These photographs were all vintage prints. I bought this print directly from Mrs. March and sold it to Allan Rubenstein and we are now the sales agent for his collection.

About Minor White

An influential figure in 20th-century American photography, Minor White first worked as a photographer for the WPA (Works Progress Administration) in Portland, Oregon in the 1930s. Following WWII, he moved to New York and began to associate with a circle that included Edward Steichen and Alfred Stieglitz. From Stieglitz, White learned the impact of sequencing images and “equivalents”—or visual metaphors—and increasingly trained his lens on subject matter traditionally considered mundane, like doorways or paint peeling from a wall. White is also known for his contemplative and tonally nuanced studies of landscapes, nudes, and forms. In 1946, he moved to San Francisco, where he would work closely with Ansel Adams and become a friend of Edward Weston, both of whom White counted as major influences on his work. While living in New York, he was a founding editor of the influential photography magazine Aperture.

American, 1908-1976, Minneapolis, Minnesota