Guatemala Landscape 1955 Mural Portfolio

Year1955

Hand SignedLower Right in Pencil 

Condition Excellent 

Not Framed 

Purchased fromOther 

Provenance / HistoryFrom the collection of Erica Weston (Brett Weston's only child). 

Story / Additional InfoThis one was created for Erica Weston outside of the 1989 run of 25. For his last portfolio, in 1989 Brett Weston selected what he regarded as his finest 8" x 10" negatives to generate a historically unprecedented enlargement of his work. Each print, measuring 20" x 24" was painstaking printed by Weston in his Carmel Valley darkroom which had been entirely revised to accommodate this single, extraordinary endeavor. Each photograph was then carefully dry mounted on 30" x 33" archival museum board, and signed and numbered in an edition of 25. Negatives were each permanently retired upon completion of the project and eventually destroyed.
 

Certificate of AuthenticityArt Brokerage 

LID112097

Brett Weston - United States

Art Brokerage: Brett Weston American Photographer: b. 1911-1993. In 1925, long before photography was accepted as a legitimate art form, Brett Weston embarked upon a remarkable career in fine art photography that would span more than 65 years. The thirteen year-old Brett began legendary abstraction of form in Mexico under the astonished eye of his father, the great photographer Edward Weston, who often privately credited Brett with influencing his own work after that date. As some musicians are said to be born with an ear independent of their experience and training, Brett had been gifted with an eye that is recognizable from his earliest work. Edward Weston observed that by the age of 14, Brett was doing better work than he was doing himself at 30. By the amazing age of 20, Brett Weston's work was being exhibited internationally and the world had a glimpse of what was to come. Weston's concluding photographs taken during the 1980's, the abstract was resurrected but this time the playful and less orderly images of writhing reflections in skyscraper windows and the electrifying patterns of light on underwater figures captured his imagination. A final series of plant forms in Hawaii revealed a more mature language; as a sense of mortality and introspection entered the frame. Listings wanted.