Walker Evans, ‘Selected images from Walker Evans’, ca. 1930-1936, Phillips

Varying dimensions from 6 1/2 x 4 5/8 in. (16.5 x 11.7 cm) to 7 x 9 1/4 in. (17.8 x 23.5 cm)

Titles include: Minstrel Show Bill, circa 1930s; New England Portuguese Bedroom, 1930; Joe's Auto Graveyard, Bethlehem, Pennsylvania, 1936; Child's Grave, circa 1930s; Farmhouse, Westchester County, NY, 1931; Martha's Vineyard, 1931; Birmingham Steel Mill and Worker's Houses, 1936

Signature: Each signed, sequentially numbered and numbered 43/100 in pencil on the mount.

Mora, Walker Evans: The Hungry Eye, pp. 148, 154, 192, 197
Steidl, Walker Evans: Lyric Document, pp. 64-65, 145, 154
Galerie Thomas Zander, Walker Evans: New Translations and Vintage Prints, p. 17, detail, 27-28
Harcourt Brace & Company, Something Permanent, p. 36, detail

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