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  • Sand Dunes, Oceano, California

    1936
    Edward Weston (American, 1886–1958)

    Description

    Edward Weston’s extensive 1936 series of the dunes in Oceano, California, focuses on line and pattern, in this case the sinuous lines and rolling shapes created by the wind and tides on the sand. He and his fellow Bay Area photographers were early proponents of the large-format cameras and small aperture settings that produced maximum image sharpness and great depth of field. As a result, Weston’s contact prints of his Oceano views possess a sparkling clarity in the highlights and a tonal richness in the shadows that transform the flowing topography into a stunning visual puzzle that is at once highly detailed yet very abstract.

    Inscription

    On verso in pencil: title, date photographer's name (in photographer's hand) and 3150

    Provenance

    Stephen T. Rose, Coconut Grove, FL; purchased by MFA April 1983.

    Credit Line

    Sophie M. Friedman Fund

    Details

    Dimensions

    Image/Sheet: 19.0 x 24.2 cm (7 1/2 x 9 1/2 in.) Mount: 35.0 x 40.6 cm (13 3/4 x 16 in.)

    Accession Number

    1983.169

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

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  • Thistle (Carduus acanthoides)

    1851–54
    Anna Atkins (English, 1799–1871)

    Description

    Anna Atkins, a trained botanist with a background in scientific book illustration, became interested in the new invention of photography as a means of recording her botanical specimens. Using the cyanotype, a highly stable chemical variant of Talbot’s photogenic drawing technique, Atkins published the first photographically illustrated book, Photographs of British Algae. Atkins’s Thistle (Carduus acanthoides), from her later publication British and Foreign Flowering Plants and Ferns, is an artful presentation of a scientific subject. The featured plant spreads its bold form diagonally across the paper, overarching a smaller specimen. Its rough leaves and stems are sharply delineated against the characteristic Prussian blue background of the cyanotype, the accuracy of the representation confirming the value of the technique for scientific illustration.

    Provenance

    Hans P. Kraus, Jr., Inc., New York; purchased November 1986.

    Credit Line

    Sophie M. Friedman Fund

    Details

    Dimensions

    Image: 34.9 x 24.8 cm (13 3/4 x 9 3/4 in.) Mount: 48.3 x 38.1 cm (19 x 15 in.)

    Accession Number

    1986.593

    Medium or Technique

    Photograph, cyanotype photogram

    Not On View

    Collections

    Europe, Photography

    Classifications

    Photographs

    More Info
  • Blooming Tree

    about 1900
    Arthur Wesley Dow (American, 1857–1922)

    Description

    Provenance

    By summer 1965, William Councilman Wigglesworth (b. 1918 – d. 1987), Ipswich, MA [see note 1]; summer 1965, gift of Wigglesworth to his sister-in-law, Anne Parker Wigglesworth (b. 1921 – d. 1999), Ipswich, Manchester, and New York; 1999, by inheritance to Philio Wigglesworth Cushing, Ipswich, and her son, Henry Coolidge Wigglesworth, Seattle, WA; 2006, partial gift and partial sale of Philio Wigglesworth Cushing and Henry Coolidge Wigglesworth to the MFA. (Accession date: June 21, 2006) NOTES: [1] William Councilman Wigglesworth, a surgeon in Ipswich, MA, received the album from a grateful patient at an unknown date.

    Credit Line

    Gift of Philio Wigglesworth Cushing and Henry Coolidge Wigglesworth from the collection of their parents Frank and Anne Wigglesworth in memory of their love for Ipswich. M. and M. Karolik Fund and Charles H. Bayley Picture and Painting Fund

    Details

    Dimensions

    Sheet: 15.7 x 21.5 cm (6 3/16 x 8 7/16 in.)

    Accession Number

    2006.1277.138

    Medium or Technique

    Photograph, cyanotype

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

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  • Room in Brooklyn

    1932
    Edward Hopper (American, 1882–1967)

    Description

    Inscription

    Signed lower right: EDWARD HOPPER

    Provenance

    1932, the artist; with Frank K. M. Rehn, Inc., New York; 1935, sold by Frank K. M. Rehn to the MFA for $1,800. (Accession Date: March 7, 1935)

    Credit Line

    The Hayden Collection—Charles Henry Hayden Fund

    Details

    Dimensions

    Unframed: 73.98 x 86.36 cm (29 1/8 x 34 in.) Framed: 88.9 x 100.3 x 7.6 cm (35 x 39 1/2 x 3 in.)

    Accession Number

    35.66

    Medium or Technique

    Oil on canvas

    On View

    Melvin Blake and Frank Purnell Gallery (Gallery 327)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Boats at T Wharf

    about 1915
    Arthur Clifton Goodwin (American, 1864–1929)

    Description

    When Goodwin completed this canvas in about 1915, T wharf in Boston harbor was one of the largest fish piers in the world. T wharf, which acquired its name from its shape, was a frequent subject for the artist, who also painted views of Boston and New York in an impressionist style. Goodwin focused attention on the red fishing boat in the foreground and enlivened the scene by including working fishermen and a forest of masts.

    Inscription

    Lower right: A.C. GOODWIN.

    Provenance

    The artist; Murray and Selma Albertson; to Charles H. and Jane R. Weingarten, 1967; to MFA, 1982, gift of Murray and Selma Albertson.

    Credit Line

    Gift of Charles H. and Jane R. Weingarten

    Details

    Dimensions

    40.96 x 51.12 cm (16 1/8 x 20 1/8 in.)

    Accession Number

    1982.798

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Gargoyle, Louvre Courtyard

    Gargouille, Cour du Louvre

    August, 1921
    Jean-Eugène Auguste Atget (French, 1857–1927)

    Description

    Inscription

    Titled in photographer's hand and stamped verso.

    Provenance

    Fraenkel Gallery, San Francisco, CA; purchased June 1987.

    Credit Line

    Sophie M. Friedman Fund

    Details

    Dimensions

    Image/Sheet: 22.2 x 17.8 cm (8 3/4 x 7 in.)

    Accession Number

    1987.302

    Medium or Technique

    Photograph, printing out paper from glass negative

    Not On View

    Collections

    Europe, Photography

    Classifications

    Photographs

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  • Versailles Park

    1902
    Jean-Eugène Auguste Atget (French, 1857–1927)

    Description

    Eugène Atget is known for his photographs of Paris. An independent entrepreneur, Atget created an immense archive of views of Paris and nearby palaces and parks, such as Versailles and Saint-Cloud, for a clientele of artists, libraries, and museums. This photograph of the park at Versailles uses the compositional device of receding lines to achieve a quiet, spacious effect. Broad sweeps of pathway and sky alternate with velvety swaths of vegetation. A rhythmic punctuation of urns, tree trunks, and sculpture marks the plunge into the distance. Atget’s image was intended as a document of the park, yet the dreamlike quality that imbues the photograph goes beyond the factual and resonates with some twentieth-century art movements such as Surrealism.

    Inscription

    Inscribed in negative, l. l.: (reversed 6). Inscribed in graphite, across left edge, verso: "Versailles 6350 (or 6390; third digit difficult to read)"

    Provenance

    Robert Klein Gallery, Boston, MA; purchased by MFA from Robert Klein Gallery November 1989.

    Credit Line

    Helen B. Sweeney Fund

    Details

    Dimensions

    Sheet: 18.1 x 21.8 cm (7 1/8 x 8 9/16 in.)

    Accession Number

    1989.322

    Medium or Technique

    Photograph, gold-toned albumen print from glass-plate negative, unmounted

    Not On View

    Collections

    Europe, Photography

    Classifications

    Photographs

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  • Description

    Inscription

    Verso, in gray ink, u.l.: Mt. Rainier

    Provenance

    Charles Isaacs, Malvern, PA; gift to MFA, December 2002.

    Credit Line

    Gift of Charles Isaacs and Carol Nigro

    Details

    Dimensions

    Sheet: 15.2 x 20.3 cm (6 x 8 in.)

    Accession Number

    2002.826

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Photography

    Classifications

    Photographs

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  • Description

    Inscription

    Verso, in gray ink, u.l.: Mount Hood

    Provenance

    Charles Isaacs, Malvern, PA; gift to MFA, December 2002.

    Credit Line

    Gift of Charles Isaacs and Carol Nigro

    Details

    Dimensions

    Sheet: 15.2 x 20.3 cm (6 x 8 in.)

    Accession Number

    2002.829

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Photography

    Classifications

    Photographs

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  • Spirit Lake, north of Mount Hood, 3000 ft. up

    around 1900
    Unidentified artist, American, 19th century

    Description

    Inscription

    Verso, in black ink, u.l.: Spirit Lake / (North of Mount Hood) / 3000 feet up

    Provenance

    Charles Isaacs, Malvern, PA; gift to MFA, December 2002.

    Credit Line

    Gift of Charles Isaacs and Carol Nigro

    Details

    Dimensions

    Sheet: 15.2 x 20.3 cm (6 x 8 in.)

    Accession Number

    2002.831

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Photography

    Classifications

    Photographs

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  • Textile sample

    Japanese
    Meiji era
    late 19th century

    Object Place: Japan

    Description

    Textile sample with design of bamboo and mist in red and gray on a white ground.

    Provenance

    Transferred from the Asiatic Dept. to Textiles.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    24.0 x 32.6 cm (9 7/16 x 12 13/16 in.)

    Accession Number

    98.331

    Medium or Technique

    Silk plain-weave with supplementary weft patterning, stencil resist-dyed (katazome), hand drawn paste resist-dyed and painted (yûzen)

    Not On View

    Collections

    Asia, Textiles and Fashion Arts

    Classifications

    Textiles

    More Info
  • Fishermen

    Japanese
    Late Meiji era
    Yamamoto Kanae (Japanese, 1882–1946 Japanese)

    Place of Creation: Japan

    Description

    Provenance

    Ex. Jaeger Collection Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 8.8 x 13.8 cm (3 7/16 x 5 7/16 in.)

    Accession Number

    2002.1371

    Medium or Technique

    Color wood engraving; ink on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Picture Gallery with Views of Modern Rome

    1757
    Giovanni Paolo Pannini (Italian (Roman), 1691–1765)

    Description

    This extravagant souvenir was one of four similar paintings commissioned by the Duc de Choiseul to commemorate his stay in Rome as the French ambassador to the Vatican. Pannini, who became the most celebrated view painter in Rome, had been trained in a school of stage designers in Bologna. He depicted the duke seated in the center of a fantastic art gallery, surrounded by sculptures by Michelangelo and Bernini. Around him hang Pannini’s meticulously detailed views of Roman buildings, fountains, and monuments of the seventeenth and eighteenth centuries, including Saint Peter’s Square, the Trevi Fountain, and the Spanish Steps.

    Inscription

    Lower left, on face of block of stone, I. P A U L P A NINI. R O M A E; on edgeof stone: 1757

    Provenance

    1757, Etienne François, Duc de Choiseul (b. 1719 - d. 1785), Paris (original commission) [see note 1]; 1792, sold by the Duc de Choiseul to Jacques-Donatien Le Ray (b. 1726 - d. 1803), Chaumont; by descent to his son, James Le Ray (b. 1760 - d. 1840), Chaumont and Otsego County, NY; by descent to his son-in-law, the Marquis de Gouvello; sold by Gouvello to William J. Davis; 1834, sold by Davis to the Boston Athenaeum [see note 2]; 1975, sold by the Boston Athenaeum to the MFA. (Accession Date: March 10, 1976) NOTES: [1] Information about the provenance of this painting is taken from Ferdinando Arisi, Gian Paolo Panini (Piacenza, 1961), pp. 211-212. [2] See "The Descriptive Catalogue of the Four Magnificent Paintings of the Most Interesting Monuments of Ancient and Modern Rome" (exh. cat. Boston Athenaeum, 1834) and Mabel Munson Swan, The Athenaeum Gallery, 1827-1873 (Boston, 1940), pp. 124-125. The picture was first lent to the MFA in 1876.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    170.2 x 244.5 cm (67 x 96 1/4 in.)

    Accession Number

    1975.805

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 246)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Shasei sôka môyô (Patterns of Plants and Flowers from Nature)

    Japanese
    Late Meiji era
    1907 (Meiji 40)
    Furutani Kôrin (Japanese, 1875–1910 Japanese), Publisher Yamada Unsôdô

    Description

    Provenance

    1993, April purchased by donor from Hotei & Ukiyo-e Books in Leiden, The Netherlands

    Credit Line

    Gift of Arthur E. Vershbow

    Details

    Catalogue Raisonné

    Saunders, Le Japon Artistique (MFA, 2010), selected images from this impression, pp. 65-114

    Dimensions

    25.1 x 18.5 cm (9 7/8 x 7 5/16 in.) (ôhon)

    Accession Number

    2001.864.1-2

    Medium or Technique

    Woodblock printed book; ink and color on paper with applied silver and gold

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Illustrated Books

    More Info
  • First Branch of the White River, Vermont

    1938
    Edward Hopper (American, 1882–1967)

    Description

    Inscription

    Signed lower right in blue-green watercolor: EDWARD HOPPER

    Markings

    PDP Watermark Type: Watermark: HAND MADE J WHATMAN 1934 ENGLAND

    Provenance

    Frank K. M. Rehn Gallery (New York); 1939, sold by Frank Rehn to MFA. (Accession Date: January 12, 1939)

    Credit Line

    William Emerson Fund

    Details

    Dimensions

    Sheet: 55.2 x 68.3 cm (21 3/4 x 26 7/8 in.) Framed: 74.3 x 85.1 x 3.8 cm (29 1/4 x 33 1/2 x 1 1/2 in.)

    Accession Number

    39.43

    Medium or Technique

    Watercolor over graphite pencil on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Cloudy Sky—The Mediterranean with Mount Agde

    Seascape

    1857
    Gustave Le Gray (French, 1820–1882 French)

    Description

    Gustave Le Gray advanced the painterly aspects of early photography. A pioneer of photographic techniques and a sought-after teacher throughout his career, he is best known for the majestic ocean views that he made between 1856 and 1858. Printed on a scale that was large for its time, images such as this view of Mount Agde, taken along France’s Mediterranean coast, have a visual power that brought Le Gray international praise. The project forced him to deal with the varying tonal intensities of the clouds and sea, which were difficult to record with the available technology. He skillfully circumvented the problem by using two negatives, which he unobtrusively joined at the horizon line during printing.

    Inscription

    Not signed. Verso, in dark brown ink, l. r.: 8513.

    Provenance

    André Jammes; Lucien Goldschmidt, New York, 1971; Charles W. Millard III, Chapel Hill, NC; gift of Millard to MFA November 1997.

    Credit Line

    Gift of Charles W. Millard III in honor of Clifford S. Ackley

    Details

    Dimensions

    Sheet: 31.1 x 39.7 cm (12 1/4 x 15 5/8 in.)

    Accession Number

    1997.241

    Medium or Technique

    Photograph, albumen print from two wet collodion-on-glass negatives

    Not On View

    Collections

    Europe, Photography

    Classifications

    Photographs

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  • Poppies

    about 1864
    Charles Hippolyte Aubry (French, 1811–1877 French)

    Description

    Inscription

    Signed in negative, l. r.: ch. aubry; Numbered in brownish-black ink on mount: 87; Numbered in negative, l. l. and concealed with brownish-black ink: 48

    Provenance

    Charles Isaacs, Malvern, PA; purchased December 1990.

    Credit Line

    Sophie M. Friedman Fund

    Details

    Dimensions

    Image/sheet: 34.3 x 26 cm (13 1/2 x 10 1/4 in.) Mount: 40.4 x 31 cm (15 7/8 x 12 3/16 in.)

    Accession Number

    1990.603

    Medium or Technique

    Photograph, albumen print from wet-collodion-on-glass negative

    Not On View

    Collections

    Europe, Photography

    Classifications

    Photographs

    More Info
  • Frozen Niagara Falls

    1885
    Attributed to Herman F. Nielson (American, active in 1880–1910)

    Description

    Provenance

    W. G. Russell Allen (1882-1955, Boston); bequest October 1978.

    Credit Line

    Bequest of W. G. Russell Allen

    Details

    Dimensions

    Image/Sheet: 41.8 x 49.0 cm (16 7/16 x 19 5/16 in.)

    Accession Number

    1978.409

    Medium or Technique

    Photograph, albumen print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

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  • Still in the Forest Night

    about 1915
    Gaganendranath Tagore (Indian, 1867–1938)

    Object Place: Calcutta, Bengal, India

    Description

    Provenance

    1947, gift to the MFA from Lucy Truman Aldrich, Providence. (Accession Date: January 9, 1947)

    Credit Line

    Gift of Miss Lucy T. Aldrich

    Details

    Dimensions

    Height x width: 32.5 x 28.2 cm (32.5 x 28.2 cm)

    Accession Number

    47.75

    Medium or Technique

    Opaque watercolor on paper

    Not On View

    Classifications

    Paintings

    More Info
  • Old Brooklyn Bridge

    about 1941
    Joseph Stella (American, 1877–1946 American)

    Description

    Completed in 1883 and hailed as an engineering wonder, the Brooklyn Bridge was recognized as a symbol of the modern city by artists and writers alike. Walt Whitman, John Marin, Hart Crane, Lewis Mumford, and Georgia O’Keeffe, for example, all paid homage to this structure. The bridge was viewed as more than an icon of the industrial age, though, for its design and construction fused the new technology of its innovative cable suspension with historical references to the past: the great Gothic arches of its towers linked the Old World and the New.
    Joseph Stella was twenty when he emigrated from Italy to New York. He began to study art in the United States, then traveled back to Europe in 1909, where he saw a variety of avant-garde styles. In Paris he encountered Futurism, a method of painting that attempted to express the intangible properties of motion and speed. Although he would experiment with a variety of approaches throughout his career, Stella pioneered Futurism in the United States upon his return to New York in 1912. He settled in Brooklyn in about 1919 and began to paint the bridge with this new vocabulary, using its flashing lights and rush of crisscrossed wires to indicate movement through space.

    The Brooklyn Bridge became a recurring theme in Stella’s work and he became identified with the subject. He made numerous small studies of the span and five major oils; Old Brooklyn Bridge was one of the last. His richly colored, fractured composition not only reflects his modernist approach, but also recalls the stained-glass windows of Gothic architecture. Stella himself alluded to this marriage of the new and the old, describing the bridge as a “shrine containing all the efforts of the new civilization of AMERICA.” [1]

    Notes
    1. Joseph Stella, The Brooklyn Bridge (A Page of My Life), privately printed under the title New York (1928), quoted in Barbara Haskell, Joseph Stella (New York: Whitney Museum of American Art, 1994), 206.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Inscription

    Lower right: Joseph/Stella

    Provenance

    About 1941, Wright Ludington (1900-1992), Santa Barbara, California. 1980, with Richard L. Feigen & Co., New York; 1980, sold by Richard l. Feigen & Co. to Susan Morse Hilles; 1986, gift of Susan Morse Hilles to the MFA. (Accession Date: December 17, 1986)

    Credit Line

    Gift of Susan Morse Hilles in memory of Paul Hellmuth

    Details

    Dimensions

    193.67 x 173.35 cm (76 1/4 x 68 1/4 in.)

    Accession Number

    1980.197

    Medium or Technique

    Oil on canvas

    On View

    John Axelrod Gallery (Gallery 326)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Wheels

    1939
    Charles Sheeler (American, 1883–1965)

    Description

    Inscription

    unsigned

    Provenance

    William H. Lane, Leominster, MA; gift December 1983.

    Credit Line

    Gift of William H. and Saundra B. Lane

    Details

    Dimensions

    Image/Sheet:16.51 x 24.13 cm (6 1/2 x 9 1/2 in.)

    Accession Number

    1983.696

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • Boston Harbor

    about 1850–55
    Fitz Henry Lane (American, 1804–1865)

    Description

    Gloucester, Massachusetts, native Fitz Henry Lane was at the height of his career by 1850, when he executed this grand and tranquil scene of the bustling port of Boston. From the vantage of a hill in East Boston, a perspective popularized in printed views of the city, Lane suggests topographical accuracy in his carefully constructed scene of vessels dispersed before the horizon. Prominent features of the city such as the Massachusetts State House and the Old South Church are clearly visible, but Lane lowered the horizon line to convey a sense of the expansive harbor. Like Thomas Cole [47.1201]and Frederic Edwin Church [1982.419], Lane was capable of achieving an extraordinary balance between reality and the ideal. Here he delicately combines the topography of the port with his idealized version of the scene; his romantic seascape is suffused with a sense of calm and quietude.
    Lane was largely self-taught, although he was a quick study of those resources available to him. As an apprentice in the Boston lithography shop of William S. Pendleton, he was known for his careful draftsmanship that enabled him to render all the details of different sailing vessels. While he honed his drawing skills producing popular prints, Lane also absorbed the lessons of British-born painter Robert Salmon, who settled in Boston in 1828 and flourished as a marine painter [27.356]. Lane’s Boston Harbor recalls Salmon’s handling of topographical details and his use of familiar devices, such as the small boat being rowed toward the horizon that provides a sense of scale.

    Lane portrays the calm waters with his characteristic luminosity. The elegiac quality of the scene is also typical of Lane; his paintings often depict the end of the day and evoke the end of an era. At the time Lane was painting his ambitious scenes of the major Massachusetts ports of Boston, Salem, and Gloucester, which likely appealed to patrons engaged in the shipping industry, the Erie Canal had diverted much of the traffic that would have passed through those destinations to New York. The encroaching world of steam power, which dominated the Hudson River corridor from Albany to New York City, is indicated here by the appearance of a white steam ship entering the harbor at the far right.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Provenance

    Probably Amanda Hill (Mrs. Charles M.) Peirce (1836-1922), New Bedford, Mass.; by descent to her daughter, Annie Pierce (Mrs. Willis E.) Lougee (born 1861), New Bedford; by descent to her daughter, Grace Howland (Mrs. Moses M.) Sargeant (1881-1965), New Bedford; about 1960, by descent to her daughter, Anne Sargeant (Mrs. Thomas W.) Farnsworth, Jr., New Bedford; 1966, sold by Anne Sargeant Farnsworth to the MFA. (Accession Date: February 17, 1966)

    Credit Line

    M. and M. Karolik Collection of American Paintings, 1815–1865, by exchange

    Details

    Dimensions

    66.04 x 106.68 cm (26 x 42 in.)

    Accession Number

    66.339

    Medium or Technique

    Oil on canvas

    On View

    Dr. Lawrence H. and Roberta Cohn Gallery (Gallery 235)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Skull and Rock-Arrangement

    1931
    Edward Weston (American, 1886–1958)

    Description

    Inscription

    recto l.r. in pencil: "Edward Weston, 1931"; e.e. "1/50". verso upper r.: "18B 1931 $15.00 ? : upper center: "Skull and Rock-/Arrangement"

    Provenance

    Penelope Dixon, High Falls, NY; purchased March 1982.

    Credit Line

    Sophie M. Friedman Fund

    Details

    Dimensions

    19.4 x 23.8 cm (7 5/8 x 9 3/8 in.)

    Accession Number

    1982.191

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info

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