Walker Evans, ‘Interior, Cape Cod’, 1931-printed no later than 1941, Phillips

From the Catalogue:
This photograph was part of The Museum of Modern Art’s American Photographs at $10 program initiated in 1941. Photographs by nine photographers were exhibited and made available to the public, each in an edition of 10 at a cost of $10. This laudable idea was ahead of its time and, despite the high caliber of the work—by photographers such as Walker Evans, Edward Weston, Charles Sheeler, and László Moholy-Nagy, among others—the venture was less than successful, with few photographs sold.
Courtesy of Phillips

Signature: Signed in pencil on the reverse of the mount; typed title and credit on The Museum of Modern Art exhibition and sale label affixed to the reverse of the mount.

Keller, Walker Evans: The Getty Museum Collection, pl. 140, there titled Bed and Stove, Truro, Massachusetts

Sotheby's, New York, 7 April 1995, lot 197

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