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In 1976, John Szarkowski organized the first solo exhibition of William Eggleston’s work at The Museum of Modern Art. The photographs in William Eggleston’s Guide, rendered as deeply saturated dye-transfer prints, confounded much of the photography world at the time. Color was generally associated with commercial – not fine art – photography, and Eggleston’s quotidian and quirky choice of subject matter was at odds with what was then regarded as serious photography. But the exhibition and the associated book have since become touchstones of 20th century photography, and Eggleston’s subtle and masterfully printed work is now understood as a continuation and modernization of the ‘anti-graphic’ approach pioneered by Walker Evans, Henri Cartier-Bresson, and others. Morton, Mississippi, was featured in the exhibition and the book, and shows the photographer working at the peak of his abilities. The benign subject within his quaint surroundings is given a hint of menace by the presence of the revolver he holds.
John Rohrbach, Senior Curator of Photographs at the Amon Carter and an authority of color photography, notes that Eggleston found his ideal print medium in the dye transfer – also known as dye imbibition – process. He writes:
‘Just as [Eliot] Porter had recognized years earlier, the dye imbibition process allowed Eggleston to draw attention to color without making it the subject of the photograph. It enabled his colors to describe and hover, actively shaping the emotional tenor of his images without getting in the way of subject’ (John Rohrbach, Color: American Photography Transformed, pp. 155-6).
William Eggleston’s Guide, exhibition catalogue (1976) 來源
紐約Cheim & Read畫廊（2017年）
德克薩斯州私人收藏
德克薩斯州阿蒙卡特美國美術館收藏文學
Szarkowski, William Eggleston's Guide, pp. 100-101
Hasselblad Center, William Eggleston, pl. 37
Thames & Hudson, William Eggleston, p. 97
Whitney Museum of American Art, William Eggleston: Democratic Camera, Photographs and Video, 1961-2008, p. 76Catalogue Essay
The photographs in this sale offered as lots 168 through 186 come from the collection of the Amon Carter Museum of American Art and are being sold to benefit acquisition funds. Photography has been a focus of the museum since its founding in 1961 when Dorothea Lange approached the museum about acquiring her portraits of Western painter Charles Russell. Director Mitchell A. Wilder readily made the acquisition, initiating an active engagement with photography and photographers that continues today. In its history, the museum has pursued ambitious exhibition and publication programs, including Marnie Sandweiss’s groundbreaking Photography in Nineteenth Century America (1991) and John Rohrbach’s definitive Color: American Photography Transformed (2013). It was the Amon Carter Museum that commissioned Richard Avedon to produce the series of portraits exhibited and published in 1985 as In the American West.
Driven by a succession of dynamic photography curators, the Amon Carter early-on established a robust photography acquisition program, collecting singular masterworks as well as entire archives. The collection now encompasses more than 45,000 exhibition-quality photographs ranging from one of the first photographs created in the United States to works made as recently as this year. It also includes eight artist archives – including those of Laura Gilpin, Carlotta Corpron, Eliot Porter, and Karl Struss – that allow scholars opportunities to delve deeply into the working methods of these seminal photographers.藝術家簡介
威廉．埃格斯頓
American • 1939
William Eggleston's highly saturated, vivid images, predominantly capturing the American South, highlight the beauty and lush diversity in the unassuming everyday. Although influenced by legends of street photography Robert Frank and Henri Cartier-Bresson, Eggleston broke away from traditional black and white photography and started experimenting with color in the late 1960s.
At the time, color photography was widely associated with the commercial rather than fine art — something that Eggleston sought to change. His 1976 exhibition at the Museum of Modern Art, Color Photographs, fundamentally shifted how color photography was viewed within an art context, ushering in institutional acceptance and helping to ensure Eggleston's significant legacy in the history of photography.
阿蒙卡特美國美術館藏系列—拍賣收益撥捐美術館購藏資金
184
《密西西比州莫頓》
約1972年作
染料轉印（1986年印）
20 3/4 x 13 3/4 英吋 (52.7 x 34.9 公分)
款識：簽名
鈴印：William Eggleston's Guide、版本（邊緣）
共有11版，此作為第5版。
估價
$40,000 - 60,000
Sarah Krueger
紐約攝影部部門主管
skrueger@phillips.com
Vanessa Hallett
美洲區副主席暨攝影部全球主管
vhallett@phillips.com
攝影
紐約拍賣 2022年10月12日
223
嬌莉安．沃榮
《精選圖片–來自「表達你想讓他們說什麼的跡象，而不是表達別人想讓你說什麼的跡象」》
估價 $25,000 - 35,000
成交價 $25,200
建立您的首份清單。
分享及管理拍品的方法。
