A quick addition to the previous post. These images were printed by Brett and C ole and unamed assistants under Weston's supervision circa 1952-1953. So I am as suming that the prints represent the results he would have achieved on his own, or he would not have approved them. Also please correct any factual errors, I di d not aquire any exhibit literature, so anything presented as fact is from memor y. Thanks for any discussion.
Brett and Cole were the only ones allowed to print from Edward's negatives. During that period the paper was Haloid Industro developed in Amidol. The prints were made in Edward's darkroom on Wildcat Hill and approved by him. Although very ill at the time with Parkinsons, his sight and mind were good and the prints are probably very much the way he would have printed. It was from this experience, however, that Brett decided that only he could print his own negatives, hence the burning of them on his 80th birthday.
The book that serves as the catalogue for the exhibit is wonderful as well.
As part of an exhibit at the MFA in Boston 2 years ago, they had a reconstruction of westons darkroom. A L-shaped wooden bench, with a sink in the right side. Cold running water. Trays and tongs. A gram scale and copious hand-written notes on formula. On the dry side of the L, the contact print frame. The light source was a bare bulb that hung above the frame on a wire. The wire was looped back on itself one time and held in place with a wooden clothespin. To increase the light, lessen the loop, to decrease it, widen it. This darkroom was indeed part of the Weston legend.
Brett actually decided that only he could print from his own negatives when he witnessed a showing of edwards work that was printed by several different people and even some prints that were only to be work prints. the look, feel and quality of the prints varied enough to, I think anyway, convince him of this point of view.
I concur that the EW show at AIC is supurb. I do differ with James though in that I think some of the portraits, particularly the one of Charis Wilson playing the recorder, are on a par with any of the landscapes. Most of the prints shown were printed by Brett and Cole under EW's supervision in the early 1950s. The others are vintage prints by EW himself.
Just a clarification,I hope, For What Its Worth...under the terms of Edward Weston's will, Cole was the sole printer/point of sale for E.W. prints after his death...with the requirement that a clear statement be on each print to show negative by E.W. and print by C.W. . From listening to Cole discuss it, it seems his integrity clearly bound him to the letter of the will. Brett and Cole were involved in the production of fine prints when E.W. was unable to do it himself. I've never heard of anyone except Edward, Brett or Cole printing an E.W. negative for a fine print for his signature, and certainly not under the terms of his will. The unnamed assistants referred to earlier may be one or more of the various folks who studied with Edward, though I doubt they were involved in printing...but perhaps lent a hand in later stages of print finishing.
Things may be more murkey if you are dealing with his commercial portrait prints. Fred.
Weston the man has intrigued me after reading the journals, California and the West, and letters to Adams, but I'm afraid that I've always been underwhelmed by the work having only seen the 1940ish reproductions in C&tW. So far I've attributed his fame to his being a flambouyant person being in the right place at the right time. I'd love to have the privilege to see these in person and re-evaluate. Is this show coming west anywhere?
Perhaps I am incorrect in stating that only Brett and Cole printed from EW negatives. Cole will surely have the last word on this. Brett, however, was adamant that his own negatives not be printed by others. I can recall this from our initial friendship in the 50's and reinforced through the decades. It was years later that there were hints of a pyrotechnic conclusion. Printing his dad's 832 "Project Prints" must surely have influenced his decision to destroy his own negatives. Brett knew that only he could print his own work. And at this he was a master.
I may be wrong but I am almost positive that at least one of the title cards with a print stated something to the effect, "printed by assistant to Edward Weston". The information about the exhibit on the walls I beleive only mentioned Cole and Brett and that these were part of a large group printing of several portfolios. It also stated that it would be impossible to assemble such a group of prints done by Edward because of limited number of prints available, or something to that effect.
The previous issue of Black and White Magazine (August/Sept?) had a review and I believe a schedule of the tour. I did not purchase a copy but perhaps someone else can provide the info, or E-mail the mag at www.bandwmag.com.
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