Samuel M. Kootz, 'Ford Plant Photos of Charles Sheeler,' Creative Art, April 1931, p. 264
'Painter Sheeler's Second Love is Photographing Plain Things,' LIFE, 8 August 1938, p. 45
Theodore E. Stebbins, Jr., and Norman Keyes, Jr., Charles Sheeler: The Photographs (Boston, 1987), pl. 48
Theodore E. Stebbins, Jr., Gilles Mora, and Karen E. Haas, The Photography of Charles Sheeler: American Modernist (Boston, 2002), cover and p. 147
The Rouge: The Image of Industry in the Art of Charles Sheeler and Diego Rivera (The Detroit Institute of Arts, 1978), cat. no. 9, p. 42
Sheeler visited the Rouge in November of 1927 and spent considerable time touring the sprawling campus, connected by nearly 100 miles of railroad track, before photographing. Sheeler later recalled, ‘There, I was able to find forms which looked right because they have been designed with their eventual utility in view, and in the successful fulfillment of their purpose, it was inevitable that beauty should be attained’ (The Rouge, p. Sheeler: 12). Industry, for Sheeler, served as a symbol for modern life, and photography was the ideal medium with which to document its massive structures.
The River Rouge images, of which the present photograph is one, were subsequently reproduced widely in the United States and Europe, earning Sheeler almost immediate international recognition. In February 1928, Vanity Fair published the famous Criss-Crossed Conveyors image when it awarded the Rouge plant its ‘Celebrity of the Month’ status. A number of the photographs were included in the landmark Film und Foto show in Stuttgart in 1929, and a select group was shown in Sheeler’s retrospective at The Museum of Modern Art in 1939.
The photograph offered here shows the west side of Blast Furnace A at the plant. In the blast furnaces, raw ore was converted into iron, and impurities, called slag, were removed. By the early 1930s, when Sheeler turned almost exclusively to painting, he continued to draw inspiration from these River Rouge photographs. He used the image offered here as the basis for his 1947 painting Industrial Forms, in which the structures in the photograph are present in a simplified, abstracted composition.
As of this writing, only four other prints of this image have been located, all in institutional collections: in the great repository of Sheeler’s work, the Lane Collection at the Museum of Fine Arts, Boston; in the Julien Levy Collection at the Art Institute of Chicago; at the San Francisco Museum of Modern Art; and in The Museum of Modern Art, New York, a print originally in the collection of Thomas Walther.
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale