- 48
愛德華·韋斯頓
估價
40,000 - 60,000 HKD
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招標截止
描述
- Edward Weston
- 燈籠椒（30號）
- 一九三○年作，後期印製
款識
30P，《燈籠椒》，Edward Weston，Cole Weston，1930（作品背面） - 銀鹽相片
Executed in 1930, printed later by Cole Weston.
來源
蒙特立，柯爾·韋斯頓, 1980年
現藏者購自上述來源
現藏者購自上述來源
出版
〈愛德華‧韋斯頓的藝術〉Merle Armitage（Aperture出版，紐約，一九三二年）5頁
〈愛德華‧韋斯頓：創意攝影中心收藏〉Amy Conger（亞利桑那大學出版，Tuscon，一九九二年）圖版606
〈愛德華‧韋斯頓：公認之火〉Nancy Newhall編（Aperture出版，紐約，一九六七年）封面及25頁
〈愛德華‧韋斯頓日記簿：第二卷，加州〉Nancy Newhall編（Aperture出版，紐約，一九七三年）封面及圖版5
〈至高的瞬間：愛德華‧韋斯頓攝影〉Beaumont Newhall編（Bulfinch出版，紐約，一九八六年）圖錄編號150
〈一百五十年攝影：扭轉影像的藝術〉（Bulfinch出版，紐約，一九八九年）圖版259
〈愛德華‧韋斯頓：熱情之形象〉Gilles Mora（H. N. Abrams出版，紐約，一九九五年）171頁
〈愛德華‧韋斯頓：攝影與現代主義〉Theodore E. Stebbins, Jr. 編（藝術博物館出版，波士頓，一九九九年）卷首插圖及圖版38
〈美國世紀攝影〉Keith Davis（H. N. Abrams出版，紐約，一九九九年）圖版207
〈Judith G. Hochberg 與Michael P. Mattis收藏：愛德華‧韋斯頓作品〉Sarah M. Lowe及Dody Weston Thompson等人編（Lodima出版，Revere，二○○三年）圖版43
〈Folio社：百件美國攝影〉Mark Haworth-Booth（Folio社出版，倫敦，二○○六年）115頁
〈二十世紀攝影〉（TASCHEN出版，科隆，二○一六年）131頁
〈愛德華‧韋斯頓：創意攝影中心收藏〉Amy Conger（亞利桑那大學出版，Tuscon，一九九二年）圖版606
〈愛德華‧韋斯頓：公認之火〉Nancy Newhall編（Aperture出版，紐約，一九六七年）封面及25頁
〈愛德華‧韋斯頓日記簿：第二卷，加州〉Nancy Newhall編（Aperture出版，紐約，一九七三年）封面及圖版5
〈至高的瞬間：愛德華‧韋斯頓攝影〉Beaumont Newhall編（Bulfinch出版，紐約，一九八六年）圖錄編號150
〈一百五十年攝影：扭轉影像的藝術〉（Bulfinch出版，紐約，一九八九年）圖版259
〈愛德華‧韋斯頓：熱情之形象〉Gilles Mora（H. N. Abrams出版，紐約，一九九五年）171頁
〈愛德華‧韋斯頓：攝影與現代主義〉Theodore E. Stebbins, Jr. 編（藝術博物館出版，波士頓，一九九九年）卷首插圖及圖版38
〈美國世紀攝影〉Keith Davis（H. N. Abrams出版，紐約，一九九九年）圖版207
〈Judith G. Hochberg 與Michael P. Mattis收藏：愛德華‧韋斯頓作品〉Sarah M. Lowe及Dody Weston Thompson等人編（Lodima出版，Revere，二○○三年）圖版43
〈Folio社：百件美國攝影〉Mark Haworth-Booth（Folio社出版，倫敦，二○○六年）115頁
〈二十世紀攝影〉（TASCHEN出版，科隆，二○一六年）131頁
Condition
This work is in overall excellent condition. There are no apparent condition issues with the work. The mount is slightly age-darkened along the periphery on the front and reverse. Framed under Plexiglas.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
此件拍品乃是韋斯頓最標誌性的作品之一。在一九三○年夏天，藝術家用了四天的時間拍攝了一套以燈籠椒為主題的系列作品，《燈籠椒（30號）》成為韋斯頓最心儀和其最受歡迎的椒習作，更是藝術家走向藝術改革的重要一步。
韋斯頓在一九三○年八月八日的日記中描述了此系列作品，「這是一套令人滿意的經典系列，燈籠椒不再只是椒，它變成了抽象，不再被外表或心態和情感所限制，遠遠超過世界的認知和價值觀…相比以往的作品，我近期的創作更代表我未來的方向。」（Nancy Newhall編《愛德華·韋斯頓日記，二冊》紐約: Horizon加州出版社, 181頁）
不同於一九二九年的習作，一九三○年的《燈籠椒（30號）》和其他作品都精準使用8x10英寸負片的長處，達到近乎抽象的效果。韋斯頓記錄燈籠椒的線條，清晰光滑的表皮下又暗示著生命的腐朽。在前作中，藝術家把燈籠椒放置於麻布或碗內創作，在新作則將燈籠椒放置於錫漏斗裡，強調了主題的弧度、無限的背景，更突顯出光線。
韋斯頓在一九三○年八月八日的日記中描述了此系列作品，「這是一套令人滿意的經典系列，燈籠椒不再只是椒，它變成了抽象，不再被外表或心態和情感所限制，遠遠超過世界的認知和價值觀…相比以往的作品，我近期的創作更代表我未來的方向。」（Nancy Newhall編《愛德華·韋斯頓日記，二冊》紐約: Horizon加州出版社, 181頁）
不同於一九二九年的習作，一九三○年的《燈籠椒（30號）》和其他作品都精準使用8x10英寸負片的長處，達到近乎抽象的效果。韋斯頓記錄燈籠椒的線條，清晰光滑的表皮下又暗示著生命的腐朽。在前作中，藝術家把燈籠椒放置於麻布或碗內創作，在新作則將燈籠椒放置於錫漏斗裡，強調了主題的弧度、無限的背景，更突顯出光線。