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拍品 20
EDWARD WESTON (1886–1958)
Nahui Olín, 1923
已結束2023年4月13日
成交價
USD 94,500
更多資訊
EDWARD WESTON (1886–1958)
Nahui Olín, 1923
gelatin silver print, mounted on board, printed mid to late 1920s
signed, titled and dated ‘1924’ in pencil (mount verso)
image/sheet: 9 1/4 x 7 in. (23.4 x 17.7 cm.)
mount: 18 x 14 in. (45.7 x 35.5 cm.)
Mexican poet Carmen Mondragón (1896-1978), is captured here in a striking portrait made by Weston as part of his ‘heroic heads’ series. This portrait of Mondragón, who changed her name to Nahui Olín, was considered by Weston to be one of his most successful images of his Mexican period.
Nahui Olín, 1923
gelatin silver print, mounted on board, printed mid to late 1920s
signed, titled and dated ‘1924’ in pencil (mount verso)
image/sheet: 9 1/4 x 7 in. (23.4 x 17.7 cm.)
mount: 18 x 14 in. (45.7 x 35.5 cm.)
Mexican poet Carmen Mondragón (1896-1978), is captured here in a striking portrait made by Weston as part of his ‘heroic heads’ series. This portrait of Mondragón, who changed her name to Nahui Olín, was considered by Weston to be one of his most successful images of his Mexican period.
EDWARD WESTON (1886–1958)
Nahui Olín, 1923
gelatin silver print, mounted on board, printed mid to late 1920s
signed, titled and dated ‘1924’ in pencil (mount verso)
image/sheet: 9 1/4 x 7 in. (23.4 x 17.7 cm.)
mount: 18 x 14 in. (45.7 x 35.5 cm.)
Mexican poet Carmen Mondragón (1896-1978), is captured here in a striking portrait made by Weston as part of his ‘heroic heads’ series. This portrait of Mondragón, who changed her name to Nahui Olín, was considered by Weston to be one of his most successful images of his Mexican period.
Nahui Olín, 1923
gelatin silver print, mounted on board, printed mid to late 1920s
signed, titled and dated ‘1924’ in pencil (mount verso)
image/sheet: 9 1/4 x 7 in. (23.4 x 17.7 cm.)
mount: 18 x 14 in. (45.7 x 35.5 cm.)
Mexican poet Carmen Mondragón (1896-1978), is captured here in a striking portrait made by Weston as part of his ‘heroic heads’ series. This portrait of Mondragón, who changed her name to Nahui Olín, was considered by Weston to be one of his most successful images of his Mexican period.
Acquired by the present owner, 1970s.
Nancy Newhall, The Daybooks of Edward Weston, Aperture, New York, 1973, vol. 1, pl. 9.
Amy Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, The University of Arizona, Tucson, 1992, fig. 107.
Edward Weston, Forms of Passion, H.N. Abrams, New York, 1995, p. 79.
Exhibition Catalogue, Edward Weston: Life Work, Lodima Press, Revere, Pa., 2003, fig. 11, p. 237.
Steve Crist, Edward Weston: 125 Photographs, Ammo Books, California, 2012, pl. 50.
Manfred Heiting, Edward Weston 1886-1958, Taschen, Koln, 2017, p. 12.
Amy Conger, Edward Weston: Photographs from the Collection of the Center for Creative Photography, The University of Arizona, Tucson, 1992, fig. 107.
Edward Weston, Forms of Passion, H.N. Abrams, New York, 1995, p. 79.
Exhibition Catalogue, Edward Weston: Life Work, Lodima Press, Revere, Pa., 2003, fig. 11, p. 237.
Steve Crist, Edward Weston: 125 Photographs, Ammo Books, California, 2012, pl. 50.
Manfred Heiting, Edward Weston 1886-1958, Taschen, Koln, 2017, p. 12.