Checklist published for the Metropolitan Museum of Art’s Edward Weston exhibition held in the MET’s Prints and Drawings Gallery from April 25-June 7, 1972. 8vo (7.85” x 8.5”), stapled printed wrappers, 14 pages. First edition. Checklist compiled by Phyllis D. Massar, with a brief chronology, bibliography, and passages from Weston’s Daybooks accompanying the thirty-five entries.
A scarce record of an early monographic photography exhibition at the Metropolitan Museum, mounted twenty years before the establishment of its independent Department of Photographs. Drawn substantially from works acquired by the museum in 1957 through the David Hunter McAlpin Fund, the exhibition ranged from Weston’s Mexican photographs and portraits of the 1920s through the Point Lobos landscapes, still lifes, nudes, and late work of the 1930s and 1940s. Massar’s placement of excerpts from the Daybooks beside individual entries allows Weston’s own thinking about visualization, form, and “significant presentation” to serve as the exhibition’s interpretive framework. Institutionally scarce, with no copies located in commerce at present. Light bumping and minor rubbing and toning to extremities; contents clean and complete. A good copy of a fragile, consequential, and elusive piece of Weston and Metropolitan Museum ephemera.
Checklist published for the Metropolitan Museum of Art’s Edward Weston exhibition held in the MET’s Prints and Drawings Gallery from April 25-June 7, 1972. 8vo (7.85” x 8.5”), stapled printed wrappers, 14 pages. First edition. Checklist compiled by Phyllis D. Massar, with a brief chronology, bibliography, and passages from Weston’s Daybooks accompanying the thirty-five entries.
A scarce record of an early monographic photography exhibition at the Metropolitan Museum, mounted twenty years before the establishment of its independent Department of Photographs. Drawn substantially from works acquired by the museum in 1957 through the David Hunter McAlpin Fund, the exhibition ranged from Weston’s Mexican photographs and portraits of the 1920s through the Point Lobos landscapes, still lifes, nudes, and late work of the 1930s and 1940s. Massar’s placement of excerpts from the Daybooks beside individual entries allows Weston’s own thinking about visualization, form, and “significant presentation” to serve as the exhibition’s interpretive framework. Institutionally scarce, with no copies located in commerce at present. Light bumping and minor rubbing and toning to extremities; contents clean and complete. A good copy of a fragile, consequential, and elusive piece of Weston and Metropolitan Museum ephemera.
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