Brett Weston

Leaf and Rain Drops

Studio stamp “Negative by Edward Weston printed under his supervision in 1955 by Brett Weston (original signature) Project print #4”.

Unsigned - fine print used for reproduction. From the Estate of Cole Weston.

Initialed and dated front of mount. Negative number annotated on back of mount. Printed in 1938.

Titled with artist's reference number on mount verso. Stamped, 'Edward Weston printed by' and signed by Cole Weston on mount verso. Printed later by Cole Weston. Artist Reference Num...

Signed, titled, dated with the negative number and artist's copyright stamp on back of mount. Printed later. Artist Reference Number 2BI.

Signed and dated on the mount. Approximate print size is 11 x 14 inches. Pristine condition. 1970s. From the Weston family and has only been in the one collection. Price and availabi...

Street Photography /2000. Portugal / Analog camera photo / B&W 35 mm film. 400 iso / Gelatin Silver Print Signed, titled, negative date & print date on verso. Ana Maria is visual ar...

Street Photography /2000. Portugal / Analog camera photo / B&W 35 mm film. 400 iso / Gelatin Silver Print Signed, titled, negative date & print date on verso. Ana Maria is visual ar...

Street Photography /2000. Portugal / Analog camera photo / B&W 35 mm film. 400 iso / Gelatin Silver Print Signed, titled, negative date & print date on verso. Ana Maria is visual ar...

Rustic Farmhouse Photography Archival Limited Edition Print Signed by the Photographer Please allow extra production time

Rustic Farmhouse Photography Archival Limited Edition Print Signed by the Photographer Please allow extra production time

Listing includes framing with UV plexiglas, free shipping and a 14 day return policy. Lora Webb Nichols Sweet Peas, 1907 15 x 12 inch gelatin silver print Image Size: 14 x 8.5 inches Frame size: 22.5 x 17.5 x 2 Edition of 15 Lora Webb Nichols was born in 1883 and grew up in the small mining town of Encampment, Wyoming. At the age of 16 Lora received her first camera and from that moment and for the next few decades she produced work that is both stunning in its singular voice and revealing in the world it opens up for us. At first Nichols photographed her family, friends, and the landscape around Encampment, but when the town experienced a copper mining boom Nichols expanded her scope to become a photographer for hire shooting portraits and industrial photographs. When the boom collapsed, Nichols took the risk of opening her own business in Encampment - The Rocky Mountain Studio - which opened in 1925. The studio ran for ten years, accumulating 24,000 negatives that illustrate the lives and environment of the people living in and around the town while creating a distinctive and surprising body of work. If one was to attempt an analogy – Nichols’ pictures fit somewhere between Lartigue and Lange - joyful and generous while objectively intimate. In particular what seems to distinguish Nichols’ work is the way she sees the world from a female perspective. As Vince Aletti...