View Edward and Brett Weston exhibition Press Release
Brett Weston - Dune, Oceano
Brett Weston
Dune, Oceano
Silver Gelatin Photograph
1934, Printed c. 1980
16 x 20 inches

Brett Weston Archive's authentication stamp on verso

Brett Weston Dune
Brett Weston
Dunes, White Sands, New Mexico
Early Silver Gelatin Photograph
1946, printed c. 1950s - early 1960s
7 1/2 X 9 1/2 inches

Signed and dated in pencil on the mount's recto.

Brett Weston - Pines in Fog
Brett Weston
Pines in Fog
Silver Gelatin Photograph
1962; printed 1970s
13 1/2 x 10 3/8 inches, mounted on 18 x 15 inches Board

Weston's signature and date, in pencil, on mount recto.

Brett Weston - Garrapata Beach
Brett Weston
Garrapata Beach
Silver Gelatin Photograph
1954, Printed 1970s
10 3/4 x 13 3/4 inches

Signed and dated in pencil on the mount's recto.

Brett Weston - Dune
Brett Weston
Dune
Silver Gelatin Photograph
c. 1939, Printed Later
8 x 10 inches

Estate authentication stamp with Christian Keesee's signature on verso.

Brett Weston - Untitled (Train Overpass, New York)
Brett Weston
Untitled (Train Overpass, New York)
Silver Gelatin Photograph
1943
8 x 10 inches

Estate authentication stamp with Christian Keesee's signature on verso.

Brett Weston - Mendenhall Glacier, Alaska
Brett Weston
Mendenhall Glacier, Alaska
Silver Gelatin Photograph
1973, Printed 1973
16 x 20 inches

Estate's authentication stamp on verso

Brett Weston - Untitled (Buildings, New York)
Brett Weston
Untitled (Buildings, New York)
Silver Gelatin Photograph
c. 1940's
11 x 14 inches

Estate authentication stamp with Christian Keesee's signature on verso.

Dune Brett Weston
Brett Weston
Dune
Silver Gelatin Photograph
1969
7 3/4 x 9 5/8 inches mounted on 13 1/4 x 15 inches

Signed and dated by artist on mount's recto, Brett Weston Archive's authentication stamp on verso

Brett Weston - Dune
Brett Weston
Dune
Silver Gelatin Photograph
12 3/4 x 10 1/2 inches, Mounted on 18 x 15 inch board

Photography West Gallery authentication stamp on verso. Original Brett Weston Photograph. Negative and Printing by Brett Weston. Acquired from Brett Weston between 1980-1992

Brett Weston - Holland Canal
Brett Weston
Holland Canal
Silver Gelatin Photograph
1971
19 1/4 x 15 1/4 inches

Signed and dated in pencil on mount recto.

Brett Weston - Dune
Brett Weston
Dune
Silver Gelatin Photograph
c. 1958, Printed c. 1980
11 x 14 inches

Brett Weston Archive's authentication stamp on verso.

Brett Weston - Dune
Brett Weston
Dune
Silver Gelatin Photograph
1968
13 x 10 1/2 inches mounted on 18 x 15 inches board

Signed and dated by artist on mount's recto, Brett Weston Archive's authentication stamp on verso.

Brett Weston - Dune, Blowing Sand
Brett Weston
Dune, Blowing Sand
Early Silver Gelatin Photograph
1980
11 x 14 inches

Estate stamp on verso.

Edward Weston - Church Door, Hornitos
Edward Weston
Church Door, Hornitos
Silver Gelatin Photograph
Executed in 1940
7 1/2 x 9 1/2 inches, mounted on 13 1/4 x 15 inches board

Initialed and dated on mount's recto. Titled and dated on mount's verso. Printed by Brett Weston.

Edward Weston - Two Shells
Edward Weston
Two Shells
Silver Gelatin Photograph
1927
9 3/8 x 7 3/8 inches, mounted on 17 x 14 inches board

Signed, titled, dated by Cole Weston in pencil, with Edward Weston signature stamp. From Edward Weston's portfolio published in 1971 by Witkin-Berley Limited, New York

Edward Weston - Egg and Bone
Edward Weston
Egg and Bone
Silver Gelatin Photograph, Printed Later by Cole Weston
1931, Printed 1955
9 1/2 x 7 1/2 inches

"Negative by Edward Weston", Printed Under his Supervision in 1955, Project Print #3 of 8 printed" hand stamp, with Brett's signature, in ink, and the title, date and notation, in pencil, on mount verso.

Edward Weston - Kale Halved
Edward Weston
Kale Halved
Silver Gelatin Photograph, Printed Later by Cole Weston
1930, Printed Later
7 1/2 x 9 1/2 inches

Signed, titled, dated, numbered '35V' by Cole Weston in pencil and credit stamp (on the reverse of the mount).

Edward Weston - Pepper No. 30
Edward Weston
Pepper No. 30
Silver Gelatin Photograph
1930
9 3/8 x 7 1/2 inches, mounted on 17 x 14 inches board

Signed, titled, dated by Cole Weston in pencil, with Edward Weston signature stamp. From Edward Weston's portfolio published in 1971 by Witkin-Berley Limited, New York

Edward Weston - Grass and Sea, Big Sur
Edward Weston
Grass and Sea, Big Sur
Silver Gelatin Photograph
1937
7 1/2 x 9 1/2 inches, mounted on 14 x 17 inches board

Signed, titled, dated by Cole Weston in pencil, with Edward Weston signature stamp. From Edward Weston's portfolio published in 1971 by Witkin-Berley Limited, New York

Edward Weston - Dunes, Oceano
Edward Weston
Dunes, Oceano
Silver Gelatin Photograph
1936, printed circa 1975-85
7 1/2 x 9 1/2 inches, mounted on 14 x 16 inches board

Signed, titled, and dated by Cole Weston in pencil with photographer's negative stamp mount verso

Edward Weston - Nude on Sand, Oceano
Edward Weston
Nude on Sand, Oceano
Silver Gelatin Photograph
1936, printed later by Cole Weston
5 3/4 x 9 1/4 inches

Signed, titled 'Nude', dated in pencil by Cole Weston and Edward Weston signature stamp on the reverse of the mount.

Edward Weston - Nude
Edward Weston
Nude
Silver Gelatin Photograph
1934
3 5/8 x 4 5/8 inches, mounted on 17 x 14 inches board

Signed, titled, dated by Cole Weston in pencil, with Edward Weston signature stamp. From Edward Weston's portfolio published in 1971 by Witkin-Berley Limited, New York

Edward Weston - Plaster Works, Los Angeles
Edward Weston
Plaster Works, Los Angeles
Silver Gelatin Photograph
1925
7 3/8 x 9 1/4 inches, mounted on 14 x 17 board

Signed, titled, dated by Cole Weston in pencil, with Edward Weston signature stamp. From Edward Weston's portfolio published in 1971 by Witkin-Berley Limited, New York

Edward Weston - Casa de Vecindad, D.F.
Edward Weston
Casa de Vecindad, D.F.
Silver Gelatin Photograph
1926
7 1/2 x 9 1/2 inches, mounted on 14 x 17 board

Signed, titled, dated by Cole Weston in pencil, with Edward Weston signature stamp. From Edward Weston's portfolio published in 1971 by Witkin-Berley Limited, New York

Edward Weston - Fungus
Edward Weston
Fungus
Silver Gelatin Photograph
1932, Printed c.1970
8 x 10 inches

Negative by Edward Weston with his hand stamp, Cole Weston's signature, title, and date in pencil on mount verso.

Edward Weston- Toadstool
Edward Weston
Toadstool
Silver Gelatin Photograph
1931, Printed Later by Cole Weston
9 x 7 inches

Stamped, photographer's handstamp and Cole Weston's signature on mount verso.

Edward Weston - Dunes, Oceano
Edward Weston
Dunes, Oceano
Silver Gelatin Photograph
1936, printed circa 1953 by Brett Weston
7 1/2 x 9 5/8 inches

Initialed and dated in pencil on the mount; printed title, date and negative number on 'The Photographs of Edward Weston' label affixed to the reverse of mount.

Edward Weston - Dunes, Oceano
Edward Weston
Dunes, Oceano
Silver Gelatin Photograph
1936, Printed before 1964
9 1/2 x 7 1/2 inches, Mounted 13 1/4 x 15 inches

Edward Weston Facsimile stamp on mount verso. Titled, dated and negative number (4759) in pencil in Cole Weston's hand on mount verso.

View Brett Weston - Dune, Oceano photograph
View Brett Weston Dune photograph
View Brett Weston - Pines in Fog photograph
View Brett Weston - Garrapata Beach photograph
View Brett Weston - Dune photograph
View Brett Weston - Untitled (Train Overpass, New York) photograph
View Brett Weston - Mendenhall Glacier, Alaska photograph
View Brett Weston - Untitled (Buildings, New York) photograph
View Dune Brett Weston photograph
View Brett Weston - Dune photograph
View Brett Weston - Holland Canal photograph
View Brett Weston - Dune photograph
View Brett Weston - Dune photograph
View Brett Weston - Dune, Blowing Sand photograph
View Edward Weston - Church Door, Hornitos photograph
View Edward Weston - Two Shells photograph
View Edward Weston - Egg and Bone photograph
View Edward Weston - Kale Halved photograph
View Edward Weston - Pepper No. 30 photograph
View Edward Weston - Grass and Sea, Big Sur photograph
View Edward Weston - Dunes, Oceano photograph
View Edward Weston - Nude on Sand, Oceano photograph
View Edward Weston - Nude photograph
View Edward Weston - Plaster Works, Los Angeles photograph
View Edward Weston - Casa de Vecindad, D.F. photograph
View Edward Weston - Fungus photograph
View Edward Weston- Toadstool photogprah
View Edward Weston - Dunes, Oceano photograph
View Edward Weston - Dunes, Oceano photograph

Edward + Brett Weston: A World Discovered

6/22/19 - 8/3/19

The Weston name is one of the most prominent in American photography. Edward Weston and his son Brett left a remarkable, lasting pictorial legacy that is quintessentially American and set standards for future generations of photographers. Their combined body of work presents the symbiotic relationship they had to the medium, to their commitment towards a clear and precise vision, and their familial bond, as father and son. Dedicating their lives to photography, the Weston’s created an “oeuvre” that became the standard for a modernist view that demonstrated a total break from Pictorialism. With a desire to record an unadorned world in a straight forward, unambiguous manner, they produced photographs that centered on sensuous and sculptural forms, rich tonalities, an aesthetically rich array of subject matter, and a range of scale from the close-up detail to a near panorama view of landscapes. The Weston’s left American photography a cultural endowment still cherished to the present day.

Their legacy begins with Edward; after his father gifted him his first camera, Edward Weston started pursuing photography at the age of sixteen. Encountering success with his first published photographs, he moves from Illinois to California and becomes an itinerant photographer, traveling habitually and offering his practice as a mobile commodity. Later, Edward returns to Illinois to pursue a year-long course in photography, finishing in six months. Edward Weston marries Flora Chandler, with whom he has four children. Two of them, Brett and Cole, would later gain recognition as photographers in their own right.

In the 1920s, Edward Weston travels to New York and becomes acquainted with prominent artists like Alfred Stieglitz, Paul Strand, and Georgia O’Keefe, to name a few. Realizing his earlier pictures, influenced by the style of Pictorialism, a Victorian ideal that compared photography to a painterly aesthetic, Edward Weston begins to create new work through promoting a direct, straight style of photography and recording his thoughts in his “day book” journals. With this new modernist work, Edward Weston eventually rose to the prominence of a seminal photographer, capturing the American West and creating a unique and creative vision.

Along with changing the precepts of photography and becoming critically influential, Edward Weston, with the co-founders of the f/64 group (named after the smallest aperture of the camera which provided the sharpest image), helped usher in an era that considered photography as a legitimate, contemporary artistic medium. Unlike many of their European contemporaries, f/64 school photographers were often virtuoso dark-room printers who thought the exposed negative to be half of the complete photograph and the interpreting and printing of the latent image to be the other half.

Throughout this story and along his father’s side, Brett Weston began taking pictures as a teenager in Mexico in the 1920s. Much like his father, Brett received a camera as a gift from Edward and started to forge his own photographic identity at the age of fourteen.

“(Brett) is doing better work at fourteen than I did at thirty. To have someone close to me, working so excellently, with an assured future, is a happiness hardly expected.” – Edward Weston on Brett

Surrounded by some of the best international artists of the time like Frida Kahlo, Diego Rivera, Jose Clemente Orozco, as well as modernist Tina Modotti, who maintained a romantic and artistic relationship with his father, Brett Weston began to craft a vision where the literalness of what he photographed had strong, abstract compositional forms. He becomes one of the first photographers to understand and effectively use negative space. Using the camera to transform landscapes and expound the creative potential of contrasts using blacks and whites, Brett studied the formal components of an image, reducing his subjects to studies of lightness and darkness, composition, and form. By the age of seventeen, Brett participated in the influential German exhibition “Film und Foto,” granting him international recognition that helped to establish an illustrious career that spanned seven decades.

In 1926, both Brett and Edward Weston returned to California from Mexico. They had moved to Carmel, California and were drawn to Point Lobos, where both would create some of their most consequential photographs. Brett Weston left his father’s studio very early to pursue an independent path, undertaking sculpture and serving in the army. Later in their lives, Edward developed Parkinson’s and could no longer take or print photographs. Brett returned to his father’s side and helped his now world-famous father create a Fiftieth Anniversary Portfolio and the later “Project Prints” (a selection of 832 negatives that Edward Weston considered to be his best, which were to be printed in small editions.) Printing Edward’s pictures next to him, Brett ultimately paved the way for the posterity of his father’s legacy.

Brett and Edward Weston’s photography created a cultural legacy that changed the history of photography. Their work, combined or independent, represents some of the essential and influential bodies of photography in the history of the medium. As father and son, they made an impact on American culture that is still referenced today and will continue to hold such influence and creative brilliance.

“The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself, whether it be polished steel or palpitating flesh.” - Edward Weston

View Edward and Brett Weston exhibition Press Release