Walker Evans, ‘Company Houses and Filling Station on Scotts Run, Vicinity of Morgantown, West Virginia’, 1935, Phillips

Signature: Signed in pencil on the verso.

Da Capo Press, Walker Evans: Photographs for the Farm Security Administration 1935-1938, pl. 11
The Metropolitan Museum of Art, Walker Evans, p. 71

Carlton Gallery, New York, 1978
Phillips de Pury & Company, New York, 28 April 2005, lot 165

About Walker Evans

Few images capture a moment in American history as clearly as Walker Evans’ groundbreaking 1938 monograph American Photographs and his 1941 collaboration with author James Agee, Let Us Now Praise Famous Men. A pioneer of documentary photography, Evans catalogued the essence of 20th century America in his photographs of Main Streets, churches, factories, and New York City commuters, whom he shot by hiding a 35mm Contax camera underneath his coat. Toward the end of his long career, the two-time Guggenheim Fellow began experimenting with the color Polaroid SX-70. His groundbreaking work influenced generations of photographers, including Robert Frank, Diane Arbus, and Lee Friedlander, and served as source material for Sherrie Levine’s conceptual appropriations. Photography, Evans once said, “is the capture and projection of the delights of seeing; it is the defining of observation full and felt.”

American, 1903-1975, St. Louis, MO, United States, based in New Haven, CT, United States