Walker Evans, ‘Selected images from Walker Evans: Selected Photographs’, 1930-1936, Phillips

Varying dimensions from 8 x 10 1/2 in. (20.3 x 26.7 cm) to 15 3/8 x 11 3/4 in. (39.1 x 29.8 cm)

Titles include: Breakfast Room at Belle Grove Plantation, White Chapel, Louisiana, 1935; Minstrel Poster, Alabama, 1936; Kitchen Wall, Alabama Farmstead, 1936; Stamped Tin Relic, 1930; Ruin of Tabby (Shell) Construction, St. Mary's, Georgia, 1936

Signature: Each signed and numbered 59/75 in pencil on the mount.

Harcourt Brace & Company, Something Permanent, p. 49
Chevrier and L’Archneen, Walker Evans dans le temps et dans l’histoire, p. 61
Fundación Mapfre, Walker Evans, pl. 38
Greenough, National Gallery of Art, Walker Evans: Subways and Streets, pl. 17
Mora, Walker Evans: The Hungry Eye, pp. 131, 165, 175
Steidl, Walker Evans: Lyric Document, pp. 131, 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