Ryerson Library

THE ART INSTITUTE OF CHICAGO WALKER EVANS Leaving Things as They Are

The Promised G{/t of ll1r. and Mrs. David C. Ruttenberg to The Art Institute of Chicago 1987 ~~CA_ ._s:::f-.­ -,o (' :1'3\( Al~Y. c:'

\J , \

All pho1ugraphs an· 1·1· 111"01 h ff1·tl 1·11111· 11·sy of tlw Walk1•r E\'ans Est ah'.

Tlw 1·xhihi1ion ·· Walk 1~r Evans: L1·a vi 11 g Thin;!' a.-. Th1·y An··· was orJ!anizr·d hy Thi· Art l n ::. titul t> ofC hi(' a~o anti pn•:w nl!'d S1 ·1 1h'mlwr 12-.\ u\'t'llllw r 8. 1987.

01· sig1wd li y: Mary G ran Quinla n Pi-inlt'tl hy: Hnhrwr Prinlini; Compa ny. C hi1·ago

© Cop yr ig: ht 1987 Tlw A rt l 11 .., 1i1u1t· of C hi1·ago

Covt'f pholo: New Orleuris. Lo u isiuuo . 19:J5 (ntl. no. :rn ) ACKNOWLE DGME NTS

The photographs li sted here are promised gifts to The Art Institute of Chi cago of Mr. a nd Mrs. David C. Ruttenberg, art patrons, collectors, and friends to many artists and photographers. These gifts are made possible through the courtesy of The Rutten­ berg Arts Foundation. The group was selected from an archi ve of photographs originally owned b y Walker Evans to complement the existing examples of the photographer 's work already in the museum's permanent collection . The Rutten bergs and the Art Institute would like to thank Claude Baillargeon and Lynn McLanahan Herbert for preparing this catalogue and assisting with the preparations for the accompanying exhibition. They, in turn , ~er e aided by J ohn T. Hill, Executor of the Walker Evans Estate, who helped in maintaining the acc uracy of titles, dates, and attributions, and who granted use of the copyright for the reproductions. Additional expertise was given by Jim Dow; J erald C. Maddox, Curator of Photographs at the ; Davis Pratt, Curator of at the Fogg Museum of Art, Harvard U niversity; Mrs. ; Harry I-I. Lunn, Jr.; and Kathleen Lamb. Also , thanks to Susan Snodgrass and Elizabeth Pratt for their editorial assistance, and to Mary Grace Quinlan for the catalogue design. l? eaco 11 /-t ill . Hoston. 1933 ( C' at. no. 29) It is our sincere hope that those who see the photographs in the exhibition, or, later , in our collection , will feel touched by the work of one of America's greatest artists. It is with special thanks that we acknowledge the Rutten bergs 's promised gift and their further ge nerosity in unde rwriting this catalogue, thus bringing Evans's photo­ graphs to a wide r audience. James N. Wood Director

3 WALKER EVANS: LEAVING Photographs (1938), we re both observations THINGS AS TH EY A R E and directives. Kirstein 's ideas were so per­ suasive that for over thirty years writers and " There is a deep beauty in things as they critics of Evans's work were beholden to are." This statement, made by Walker them. Kirstein stated that Evans's work il ­ Evans during an interview with the New lu strated what wa s uniq ue to the photo­ York Times in 1967, is nearly all anyone graphic medium; tha t is, it could show needs to say about his photographs. What surgically " the fa cts of our homes a nd diffe1·entia ted Evans from most of hi s times ... without the intn1sion of the poet's or contemporaries was his desire to leave undis­ the painter 's comment or necessar y distor­ turbed the beauty he found in things as they tion";2 that Evans's subjects wer e socially we 1·e. He simply wanted to record it. Twenty rather than aestheti call y defin ed ; tha t years before making the above statement, he Evans's sensibility wa s developed not for its was quoted in Time magazine as having said, own sake but rather for what he chose to put " I used to try to figure out precisely what I before the camera ; and , that Evan s's work was seeing a ll the time, until l discovered l existed as " a collection of statements deriv­ didn' t need to. If the thing is there, wh y, ing from a nd presenting a consistent a tti­ there it is." 1 Such a statement must h ave tude" that had moral implications.:1 seemed all too simple, too artless, to have Such id eas were easie r for Kirstein to made ~ n y real sense, but that was the way voice after having witnessed the pu blica ti on Evans preferred to b e understood. To and exhibition of E uge ne Atge t's work in Evans, the hardest thing to do in photogra­ 1930 a nd having participated in the redis­ phy was to ge t the photographer out of the cover y a nd publicati on of the work of picture . Mathew Brady a year later. Their work This approach seemed radical when helped Evans and Kirstein establish the Evans first introduced it around 1930 . notion that a great photographer need not be Although photographers as far apart as introspective like AJfred Stieglitz or commer­ Edward Weston in California , Paul Strand cia l like E dward Steichen who were then the in New York City, a nd Albert Renger­ two most commanding figures in American Patzsch in Germany had a lready begun con­ photography. A great photographer could sid ering photography's objecti ve virtues, be a truthful witness or a cataloguer of facts they could n ot help but leave a trace of thei1· with a " cl ean" eye. Finding and recording aesthetic a ttitudes on the objects they pur­ the selfless poetry of things was enough . portedly sh owed as being in and of them­ The 1938 book that accompanied an exhi­ selves. What they depi cted had to sugges t or bition at The Museum of stand for something else. Evans sought to included Evans 's selecti on a nd sequen cing of remove metaphor, symboli sm , and self­ his photographs taken for the government's expression , believing that whatever re­ Rural Resettlement Admin istra ti on (later mained would be b ette r. known as the Farm Security Administration) Once the pretentiousness of grand theme between 1935 and 1937. Also included were a nd self-expression was removed from a number of samples of American Gothic Evans's photographs, a conceptual frame­ architecture that Kirstein had encouraged work was supplied b y . The Evans to take as early as 1930, and casual claims Kirstein made for Evans in his after­ obser va tions of vernacular culture and street word to Evans's first book, A m erican li fe. The tour of the ex hibition placed one

4 hundred of E va ns ' s carefull y made prints factors of hi s genius tha t persisted , whether b efore the eyes of critics a nd the public ex pressed through pa tina ted vintage p rints, alike, 4 a nd m a ~k e d Evans' s place (with only trial proofs, superb reinterpreta tions of about ten yea rs experience) as one of the older negati ves, la borator y prints, or half­ major forces in American photography. tone reproductions. Evans's work , like Despite this early success, it was not until Atge t's or 's, needs an nearly ten year s later tha t another one-man accumula tion as much as it needs a selection , show was organized (The Art Institute of for it is insistent r a the r tha n repetitious. Chicago, 1947-48). Although a powedul set Within individual p rints, or selected groups, of his photographs appeared in J ames Agee's it is Evans ' s diction more than his tone or Let Us Now Praise Fa mous Men (1941), mood that must be felt first. Finally, less tha n a dozen of his p hotogr aphs in tota l Evans's contribution can be seen as one tha t would reach galler y walls in gr oup exhibi­ led photograph y away from an elite tions. s The 1950s proved even worse , as smugness or commercial p ride towa rd the only nine of his photographs were ex hibited . pursuit of the discover y of America through Throughout the 1930s, although Evans its own ve rnacular exp ression s. was still a meticulous printer of his own Two d ays before he died on April 10, negati ves, none of the reviews of hi s work as 1975, Evans sp oke to a class at H a r va rd m ­ a photogra pher depended on seeing the ve rsity about his career a nd his love of pho­ actual .prints. Most of what was written or togra phy. His p assions fo r his subject had thought a bout E van s's work was taken from survived in pristine condition , even if the reproducti ons, incl uding a few books a nd prints in his a rchives we re another matter . their la te r re-issues. By the time of the " Looking a t wh a t I was doing, most people Chicago retrospecti ve, E vans had taken a didn' t think it was a nything a t all. It was full-time p ~s ition as a writer and photogra­ just a wagon in the street or anybody, but p her for Fortune magazine, and increasingly that turned out to be wha t I pres ume to say ordered laboratory prints and directed was its virtue." 6 T hi is how Evans judged assista nts to print his negatives. Even some his work, which is to say how he judged of the work he h ad done for the government himself. during the Depression was printed from develop ed negatives tha t Evan s sent from his field assignments to Washington. Thus, it is not su rprising tha t a n a pprecia tion of David Travis Evans's full career cannot be assembled ex­ Curator of Photography clusively from master prints by the photogra pher 's own ha nd. (This case is true, as well , for E ugene Atge t, Henri Cartier-Bresson , Andre Kertesz, a nd Robert

F rank; but the exact opposite is true of Nolf' S I . .. Puritan Explorn_'· Timf' (0 1·1". IS. 1947). p. 73. 2. Lint·oln Alfred Stieglitz, Paul Strand, E dwa rd Ki rslt'i n, WolJ..-n E vrws: Americori Ph otograph s (Nt·w Yo rk : Tlw MusPum nf Mo.Inn Art , 1938). p . 192. ] . l h i~ I.. p . J9:L 4 . T hf' 193H Weston , Ansel Adams, and, perhaps, ,\1 ust' um of l\fotl t·rn Ari exhibitio n of Walker Evans photographi-; was E dward Steichen .) shown in tlw fo llowing riti t"s: Los Angelt·s; Northampton. M.ass. : Di· trnit: Durham. t\.C.: Buffalo: Honolulu : PrO\'iden(' f' : Pit1shurgh: Cu mbridge. To study or collect Evans's work fo r his Mas:; .: a nil niv1·rsity . La . 5. Bast>d o n information suppliNI in tlw sta tements made through print qua lity a lone 1·xhausti \'1• bihlioµnq1hy in J ohn Szarkows ki . Wa lker E v lf. " Exposure 15, I (Feb. 1977) . p . 15. CHECKLIST

The following photographs comprise the promised gift of Mr. and Mrs. David C. Ruttenherg to The Art Institute of Chicago through The Rutten berg Arts Foundation. Except where noted , all photogr a phs are by Walker Evans. The photogra phs li sted he re we re originally purchased from Evans in 1974 by George Rinharl, and in the following yea r became the property of Harry H. Lunn, Jr., Director of Graphir-s Inte rnational, Ltd. After the purchase of all of the photographs owned by Evans, it was di scove1·ed that some of the photographs had heen mistakenl y markPd on tht> vt>rso with a Walkt>r Evans stamp before they entered the Rutten berg coll ec tion. This brings into qut>stion the problem of certa in attribution; therefore , those photographs in question have been li sted separatel y. Except where noted , all photographs are silver gelatin prints. The Lenn "vintage" refers to prints presumed to have been made by Evans near th t> tinw the negative was made . The te rm "supervised " refe rs to prints made unde r Evans's super vision, or thf' supervision of those assembling the retrospeetivP exhibition at The Musf'um of Modern Art in 1971. The term " Fortune lab" refers lo prints made al Forlllne magazine, hut not hy Evans himself. Likewise, the term " FSA lab" refers to prints made by others from Evans's negatives for the Farm Security Administra­ tion. The IPrm " variant" is used he re lo identify Self-porlrnit. f '. 1 9 ;~ 0 (cal. no. 8) compositions or views similar to known or published photographs by Evans, but from a different nf'ga tive. Reconstructf'd compositions from the samf' n(•gative of a known or published photograph are identified as " cr opped version" or " full fra me ." The phrase " part of series" identifies photographs in which the title was determined from other photographs of thf' same ge ne ral subject or project. In all entries, h t> ight precedes width, and measurements are in centimeters. Titlf's and dates have been determined from various published photographs, exhibitions, dorumentt>d annotations on the p rint vt> rso, or through the Walker Evans Estate. An aste1·i sk indicates the photograph' s indusion in the exhibition " Walker Evans: Leaving Things as They Are" at The Art Institute of Chicago (September 12 through November 8, 1987).

*l. Co uple at Coney Island, New York , 1928 (croppt> d version) (H. ear view of couple holding one a nother a long wharf. ) Vintage, 21.8 x 20 cm

6 Fo rt y - .~Pco ml S tr·l•P t pfeN1t ed . \ pu- } od -;. 1921:J/"!.9(1·a t . 11 11. 2) *2 . Forty-second Street elevated , New 11 . New York State farm interior, 1931 York, 1928129 (Interior view of a poor dwelling with an old (Close-up v.iew of stairway with advertisement for study desk on the left, piled-up clothing in back " Royal Baking Powder" on faces of steps.) room, and placard on the wall that reads " The Vintage, 22.4 x 14.7 cm Lord Will Provide.") Supervised , 20.6 x 15.8 cm *3 . Stamped-ti.n relic, 1929 (Discarded classical Greek style decorative tin.) *12 . Ionic doorway, New York S tate, 1931 Supervised , 11.9 x 16.9 cm (C lassical Greek style wood doorway with small window pane replaced by " 0-Honey" advertise­ *4. Tin relic, New York City, 1930 ment. ) (C urvilinear decorative motif with flower.) Vintage(?), 20.2 x 16.1 cm Supervised , 16.3 x 21.1 cm 13. Somerstown Road, Ossining, New York , 1931 5. View of Ossining, New York, 1930 (Abandoned wago n amidst overgrowth.) (Hillside view of small urban a rea with Z-shaped Supervised , 16.4 x 21.1 cm street layo ut and wooded surroundings.) Supervised , 21. 6 x 16.3 cm *14. 19th-century g ingerbread house, Oak Bluffs, Massachusetts, c. 1931 *6. Portuguese house, Truro , Massachusetts, 1930 (Diagonal view of the front entrance of a two­ (part of series) story Victorian house with gingerbread (Corner view of living room with a cactus and ornamentation and balcony over porch .) other plants, pictures on the wall , small Vintage, 16.5 x 11.3 cm ~ m e ri ca n fla g, and table with books obstructing doorway.) 15. Aboard the Cressida, South Pacific, 1932 Supe rvised , 21.6 x 16.3 cm (Four crew members near the helm of schooner. Two, including the capta in, looking at camera. *7. Berenice Abbott, c. 1930 Third one, standing behind captain, looking (Triple ex posure superimposing a woman's face ashore with binoculars. Fourth one smoking a upon adouble -ta ke of wooden chair and striped pipe.) shirt. ) Vintage, 13.3 x 17.7 cm Vintage, 11 x 6.4 cm 16. Aboard the Cressida, South Pacific, 1932 *8. Self-portrait, c. 1930 (Back view of sail or and captain aboard (Close-up of Walker Evans wearing oval-shaped schooner . Rigging arranged diagonally across sunglasses and holding his chin with the palm of right-hand corner. Sailor has his right hand his right hand.) raised. ) Vintage, 20.5 x 13.6 cm Vintage, 15.6 x 20.2 cm

*9. New Bedford, Massachusetts, 1931 17. Aboard the Cressida, South Pacific, 1932 (Close-up of the stem of the boat the Bradford (Back view of sail or and profile of captain aboard with entanglement of moorings .) schooner. Rigging arranged diagonally across Vintage, 14.6 x 18.5 cm right-ha nd corner .) Vintage, 16 x 22.6 cm *10. Truro, Massachusetts, 1931 (Corner of a bedroom with flower ta pestry, cast­ 18. Cressida: View aft, mainmast inforeground. iron stove, ornamented bed , a nd large photo A t sea , 1932 portrait on wall of man.) (C lose-up view of mainmast, topsa il schooner , Supervised , 20.6 x 15.6 cm sails, and rigging.) Vintage, 18.2 x 14.4 cm

8 D o umtow 11 , Ha vana, 1932 (<' at. no. 23 ) *19. Cressida: Masts , spars, rigging, 1932 b) Pointing hand painted on wooden fence (Foremast of topsail schooner with sails in. (U.S.A., n.d.) Mainmast o.n the left. ) Super vised , 12.2 x 9.3 cm Vintage, 21.6 x 16.1 cm c) Rear vi ew of several buggies parked along *20. Cuba, 1932 trees (Canada (?), n .d .) (Plaste r statue of negro boy. Laundry a nd Supervised , 10.8 x 6.4 cm people in background. ) Supe rvised , 20.3 x 15.6 cm d ) Street corner with vendor's cart and crowd of people (from The Crime of Cuba commission, *21. Genera l store, Cuba , 1932 1932) (Village store with "Trinidad y Hno. Supervi sed , 10. 7 x 6 .3 cm Ciga rros" advertisement pa inted on wall. Men , children , a nd horse standing near.) *28. Carey Ross, New York City, c. 1932 Supervised , 20.2 x 15. 7 cm (S houlder-length portrait of a young man. Large shadow of sitter ' s silhouette on the right.) *22. Dockworker, Havana, 1932 Vintage, 14.8 x 9 .5 cm (Cuban dockworke r with ciga rette in his mouth. His eyes shaded by the brim of his hat.) *29. Bea con Hill, Boston, 1933 Supervised , 20.5 x 15. 7 cm (Building side with forged-iron railing seen from facing window. Same building seen inve rted *23. Downtown, Havana, 1932 (cropped ve rsion) through sma ll magnifying glass nPar window (Group of men wearing boater hats, ga thered ledge.) near newsstand .) Vintage, 14.3 x 8.6 cm Vintage, 18.5 x 17 .9 cm 30. Copake , New York, 1933 24. Patio , Cuba, 1932 (House interior looking toward bedroom. Straight­ (Courtya rd with cropped flagpole, trash cans on back chairs angled toward one another , two dolly , cl eaning gear, a nd wooden stool.) pi ctures arranged verticall y, a nd small altarlike S up e r~i se d , 20.5 x 15 .7 cm shelf on in sid e wa ll. ) Supervised , 20.5 x 15. 7 cm 25. Cuba, 1932 (Portrait of middle-aged worker in front of 31. Copa.k e, New York, 1933 painted mura l de pi cting a public park with (House inte rior. Ta ble with three oil la mps, fo unta in .) books, a nd boxes; chest of drawer s with old Super vised , 19.3 x 15.7 cm mirror. Door to other room is open. ) Vintage, 20.5 x 15.6 cm 26. Cuba, 1932 (Man on horse cart in front of building 32. Interior , S torrs House, Har~ford, Connecticut, with forged -iron window fe nces.) c. 1933 Supe rvised , 19.l x 15 .7 cm (H ouse interior. View of living room with sma ll sink in corner , framed pictures, and three light 27. Uncut contact sheet with four untitled fixtures.) photographs. Supervised , 20.6 x 15 .8 cm

*a) Barber shop interior with Evans's reflection *33. Bowery flophouse entrance, New York , in mirror (from The Crime of Cuba 1934 commission , 1932) (Hotel entrance between "Chin Lee Lavanderia" Supervised , 10.7 x 6.3 cm and storP advertisement for " Tower's Fish Brand" cl othing.) SupPrvised , 20.3 x 15.7 cm

10 Couple ot Coney Island. Nc•w Yori..·. 1928 (<· at. no. I ) *34. ntitled , mill and tenements al Windsor, *41. Hall Plantation , New Ib eria, Louisiana, 1935 Vermont, 1934 (undocumented a nnota tion on (Three-stor y building with three double central back of pri.nt) doors. View partly obstructed by sma ll (R ow of similar four-stor y apa rtment curved bra nches of young tree.) buildings behind industrial pla nt with pair of Supervised , 19.4 x 24.5 cm smokestacks.) Vintage(?), 15.8 x 20. 7 cm 42. Louisiana Plantation , Melrose , 1935 (Three-story building with d ouble verandas along *35 . Belle Grove Pla ntation , White Chapel, its perimeter supported by eight columns a long Louisiana, March 1935 (variant) facade. Bare trees a long right edge of fra me.) (Two-stor y, Greek , templelike building with Super vised , 19.3 x 24.4 cm triangular pediment on one side a nd rectangular one on the other side. Both supported by four *43. La ndscape, Gulf Coast, Louisiana, 1935 Corinthian columns.) (G razing pasture with moss-covered trees. Tall Supervised , 19.5 x 24._9 cm dead tree in center foreground. ) Vintage, 19.4 x 24.4 cm 36. Belle Grove Plantation, White Chapel, Lo1iisiana, March 1935 44. Landscape, Gulf Coast, Louisiana, 1935 (Two-stor y, Greek , lemplelike building with (variant) triangula r pediment on one side a nd rectangular (G razing p asture with moss-covered trees. Tall one on the other side. Both supported by four dead tree behind swampy a rea in foreground.) Corinthian columns. Large stump in Supervised , 19.3 x 24.2 cm foreground.) upervised , 19.4 x 24.5 cm 45. Sa vannah, Georgia, 1935 (Abandoned planta ti on house with four 37. Belle Grove Plantation, White Chapel, cl assical columns supporting front porch and Lo uisiana, March 1935 (varia nt) curved sta irways on either side .) (Long view of Greek , lemplelike building with Super vised , 18.3 x 22 cm tria ngular pediment supported by four Corinthia n columns. Road parall el to frame in 46. Savannah, Georgia, 1935 foreground.) (C lassical doorway ornamented with a pair of Supervised , 19.3 x 24.3 cm lions a nd bearing street number 329.) Vintage(?), 24.4 x 19. 7 cm *38. New Orleans , Louisiana, 1935 (Facade detail of upper story of brick residential *47. View of Morgantown, West Vi rginici, building with classical d oorway and fo rged-iron June 1935 railings. Taken from facing balcony.) (View from hillside of sma ll community ga thered Vi ntage, 23.5 x 18.2 cm in sha llow valley. Industrial buildings alongside both banks of river. River parallel to frame a nd *39. Sid ewalk and shopfront , New Orleans, 1935 partly obstructed by trees.) (cropped version) Vintage(?), 19.3 x 24.5 cm (Female hairdresser standing in doorway of " French Opera" ba rbershop.) 48. Residential area, Morgantown, West Vintage, 23. 7 x 18.1 cm Vi rg inia, June 1935 (Elevated view of residentia l a rea with several 40. Untitled , Angton Plantation , Louisiana, 1935 dwellings; backyards and gardens in fo reground .) (undocumented a nnotation on back of print) Supervised , 19.3 x 24.5 cm (Corner vi ew of a n unusua l Gothic-like, two-story building with both central a nd lateral entrances.) 49. Roadside barn, Mononga lia County , West Supervised , 24.3 x 19.2 cm Vi rginia, June 1935 (varia nt) (P eeling " Hagenbeck Wa ll ace" circus pos ter on barn.) Supervised , 19.l x 24.2 cm

12 Untitled . 3 ' , m1 11 a nd tenenwnts nt wlilt· Is or ' y nmunl. 19:_14 ( 'a.. t . no. :14) 50. A rthurdale Subsistence /-J om estead Project , 57. Co nstruction worker, Wes tmoreland FSA R eeds ville. Wes t Vi rg inia , Jun e 1935 S ubsistence Hom estead Proj ect , FSA (part of series) Westmoreland Co unty, Pennsylvania , (G<> 1wrnl cl osP- range vi1 ·w of Homestead July 1935 projPf'I showing twelvf" nrw. nr-arl y id t> ntical. (Sho ulde r-le nglh portrait of a man wee1ring a single-family honws dispe rsed within a small a rea ta tten·d .. a p .) of land .) Vintagp (?), 23.4 x l 9.2 ,.m Vin tag<'(?), 18.5 x 2:3. 7 cm 58. /-lou ses a nd fa ctories, Bethleh em , 5 1. Arthu.rdale S ubsistence /-J om est.ead Proj ect , Pennsylvania , November 1935 FSA Reed sville, West Virg inia, Jun e 1935 (Bird's-Pye viPw of rf's idential an·a with two (part of series) industria l huildings in for<>ground .) (Long- rangP view of llomestPe:ul proje<'l a nd SupPr vis1·d. 19. I x 24.1 cm s urrounding landsrapc s howin g new buildings dis p<>rscd o n either side of eurvf'd road. ) *59. Be thleh em , Pennsylvania , 1935 Vintagt' (?) , 18.5 x 23. l em (ViPw of industrial community from hillsidt' gr aveya rd . Largt' sto ne cross in left foregrnund. ) 52 . /-J ou.sing constrnction , A rthurdale Subsistence SupPrvised, 19.l x 24.I cm /-Jom es teod Project , FSA l? eed sville, West Virg inia , Jun e 1935 (variant ) 60. Vie w of Easton , Pennsylvonia , 1935 (Two mpn working o n fra me strueturf" for s mall (Hillsid t> vit'w of industria l eommunity. Hiver euts housP.) ho rizonta ll y through cf' nter of frame. ) Vintagf' (?). 18.2 x 24. l em Vintagt', 19 x 24.2 cm

53. Coal 111in e 1.-s h ouse , Sco 11 ·s Run , West *6 1. S torefront , Selma , Alabama ( December 1935) Virg inia, 1935 ("Eaglt> 's Store" fat·adf' with " Golden JuhilN··' (Portra it of a c hild sitting in a room deeontlt-'d bann1•r. C hi ldrPn's toys on sidewalk .) with advf'rtising po s t f' r s~ including one with SupPrvised , 18.9 x 24.4 cm Santa Cla us .) Supe rvisPd , 19.3 x 24.3 cm 62. Fun erol h om e, Mobile, Alo.bama, 1935 (Front view of Dixon & McKa(y) funeral borne. 54. Coal miner 's house, Scott 's Run , Wes t Forged-iro n vera nda and halcony o rnamentation. ) Virginia , 1935 (c roppt•d vf' rsion) Supervist> d, 19.4 x 24.4 cm (lnt <> rior with drPssPr. table, and advPrtisin g; postf'rs on wa ll s, i1wluding; onf' with Santa Buck et -seat Model T , Alabama tow n, 1935 Cla us.) (variant)

Super visrd , 19. l x 17.5 !"Ill (Automobile parkt> d across thf' street from " Marshall and Pop e~' grocery s tore .) 55. Co mpany store, lleclo , West Virg inio , 1935 Vintag•·, 12.4 x 15.9 cm (Two-sto ry. fal sr-front g;e1wra l sto rf'. ·' nion Supply Company.") 6-1. Southea stern U.S .. c. 19:~ 5 Supe r visPd , 19.2 x 24.:3 t"rn (Douhlf' ff'a ture rnovit> poster for " The Man from Guntown., a nd " I II a te Womt'n.°') *S 6. S treet scene, .Wt. Pleu sant. Pennsylvania. Vi ntage, 1:3 .6 x 20.9 cm July 1935 (Looking up unpav1•d strPP t with fra rn f' housf· s on 6S. Southea stern U.S ..... 1935 f' itht> r sid,, a nd t <> lephom· lines on tlw lf' ft. ) (Thref'-story country housP in the Anwrirnn elassi,. FSA lab ("?), 19.:3 x 24.7 cm revival stylP with cPn tral stairway with four columns on 1·ithf' r side. and a nnexed shPd in ma tching stylt> . Picket fenee along ma in road. ) SupPrvisP d. 19.4 x 24.3 cm

14 /-loll Plo11totio r1. Neu· lbPria. l.. o uisior1c1. 193.5 ('·at. 110 . 4 1) *66. Southeastern U.S., c. 1935/36 *74. Storefronts, Ed w ards, Mississippi, March 1936 (Close-up view of window dis play of commercial (Front view of one-stor y brick building sha red by portraitist's proof sheets.) the " P eoples Burial Association" and "Cafe Kell y.") Su pervised, 24.2 x 19.3 cm Super vised, 19.2 x 24.3 cm

67. So utheastern U.S., c. 1935/3 6 *75. Street scene, Vi ck sburg, Mississippi, (Long shot of deteriorated wood building with front Ma rch 1936 porti co supported by six columns. Main building and (Looking downhill through double, bulb-sha ped a nnexes set in n a t la ndscape. Tall tree near road on orna mental portico jutting over sidewalk . Row of left. Ma n walking along road; another ma n sta nding cars pa rallel pa rked along street. ) between columns.) Vintage(?), 19.3 x 24.5 cm Su pervised , 19.4 x 24.5 cm *76. Sidewalk in Vi ck sburg, Mississ ippi, 1936 *68. Garage mech a nic, New Orleans, Louisia na (va ria nt) (Ja n uary 1936) (Sidewalk scene with parked car a nd group of black (S houlder-length portrait of man wearing " ew men milling about dilapidated storefront.) Orleans Auto Supply Co." cap .) Vintage(?), 15.5 x 19.8 cm Vintage, 24.4 x 19.3 cm 77 . Negroes' houses, outsk irts Tupelo , Mississippi, *69. Landowner , Mo undville, Ala ba ma , Ma rch 1936 (part of series) summe r 1936 (A gathering of small , one-stor y frame houses on (P ortrait of man wearing dotted tie a nd wrinkled hilJ y terrain. Corner of deterior ated house in left sports jacket posed against tongue-and-groove house foreground.) s.iding.) Vintage(?), 19.3 x 24.5 cm Su per vised , 22.4 x 19.2 cm *78. Greek temple building, Natchez, Missis sippi, 70. Selma, Ala ba m a, 1936 1 936 ("Bloch Brothers Ha rdwar e" stor e with baseball (S tone building with pediment supported by fo ur tournament banner across false balcony raiJing.) Ionic columns and the words "206, sig( n)s, Scott" Supervised , 18.9 x 24.3 cm on facade.) Supervised , 19. l x 24.5 cm *71. Main street, Greensboro, Alabama , 1936 (va r iant) *79. Church of the Nazarene, T enn essee, 1936 (Small-town main street shot diagona ll y from (Front view of small , one-story cla pboa rd building second-stor y balco ny. "AJaba ma P ower Co." sign with "Church of the Nazarene, Welcome" sign over cantilevered over right-hand side of sidewalk.) doorway. Church benches piled up on sidewalk.) Super vised , 19.3 x 24.3 cm Supervised , 19.2 x 24.2 cm

*72. Boarding ho use, Birming h a m , Alaba ma, 1936 *80. Barber shop , Southern town , 1936 (variant) (var iant) (Clapboard facade of " Brother -in-Law Ba rber (C lo e-up view of the front por ch of old, highl y Shop" with couple sitting on bench .) decor a ted clapboar d building. Two men sitting Supervised , 19.2 x 24.1 cm under canopy. Woma n sewing seen through second-n oor window.) *8 1. Ba rber sh op , So uthern town , 1936 Supervised , 18. 9 x 24 cm (Clapboard facade of " ew Deal Barber Shop" and "Savoy Barber Shop" with four men standing 73. Posters, Ala ba ma, 1936 outside the entra nces.) (Two entertainment posters a ttached Lo brick wall . Supervised , 17.3 x 23.6 cm One is a movie pos ter for " The Roaring West"; the other is a n ad vertisement fo r J .C. Lincoln 's " Mighty *82 . Southeastern U.S ., 1936 Minstrels" big tent show. ) (P ortion of torn poster showing two horses and a Super vised, 19 x 24.2 cm woman in a large hat. ) Vintage, 21.l x 16.3 cm

16 Corrug ot.ed ti11 fu cade, 1936 (<'at. no . 84) 83. Minstrel sh owbill d eta il. 1936 (va r·iant) 93. Unt.itled subway portrait , New York. 1938 or 1941 (Ente rtainme nt poster for minstr· pl show.) (!' roppt> d Vf' rsion) Supe rvised . 1 9 .4 x 24.3 cm (S houlde r-length portrait of man. with glassr s a nd ha t. readin g a newspa pe r .) *84. Co rrugat.ed tin facade, 1936 (cropped ve rsion) Vintage, 9.9 x 10. 7 cm (Tin fac ad e of contra!'tor Hi .. ha rd PPrkins's workshop.) 94. Untitled subway portrait., New York, 1938 or 194 1 Vi ntage, 10 x 12 .8 cm (Sea ted woman wearing V-neck coat and dark hat with la rge brim. Ht>r hands are fold ed on her lap.) 85. S treet scene, New Yo rk , 1936 Vintagf' , 10.9 x 10.l cm (Four ehiJdren playing rwar entranct> Lo brick building . Fat wo1nan s itting s idewa ys o n w indo w 95. Untitled subway portrait, New Yor k. 1938 or 1941 ledg<'.) (Woma n with purse seated next to girl with dark Supervisf'd , 16.l x 23.9 cm hat.) Vintage (?), 12. 7 x 18.6 cm 86. River boa t , Louisiana. c. 1936 (Seeti on of the Capitol ri ve r boat a t dock. ) 96. Portrait of Blair Fuller , c. 1940 Supe rvised. 19.5 x 24.6 cm (Ha lf-fi gure portrait of yo ung ma n wearing a tie and sports jacket, and lt> aning against a portico column .) 87. Southern U.S .. 1930s Vi ntage , 18 x 15 cm (Corrw r vi ew of the " E.C. Atkins and Co. Store .") Vintage, 19.:3 x 24.5 cm *97. Untitled , Bridge port. Conrwcti cut, 1941 (S treet-level view of sma ll crowd awaiting parad t• in 88. Un titled , 1930s front of cinema ft·aturing " Tht>y Met In Bombay.") (S houldt• r-length portrait of two yo ung boys looking Fortune lab (?). 19. l x 23.5 cm al the ca mera and standing nea r wall with cr opped inseriptions ~- ... a hon ... rgan" and r. ~E s ta .. P f" nn . . . *98. Untitled , Bridgt>port , Connf'c ti cul , 1941 Tota ... ") (Young man walking down cit y street with Vintage, 15.6 x 21.5 cm string- ti ed parcel in hi s right ha nd. Monogram "SJ " on his sweater .) 89. Untitled , 1930s Fortune la b (?), 22. 7 x 17 .2 cm (S idPwalk salt" , secondhand shoe shop. and clothing store.) 99. Untitled , BridgP port, Connecti cut, 1941 Vintage , 19.4 x 24.8 cm (Rooftop vi ew of mili tary parade with crowd gathered along sidt>wal k.) *90. Roofiops and Triboroug h Bridge over East River , Fortu.n e la b (?), 14.3 x 19.4 !'Ill Ne w }'ork, 1930s ( Rooftops with wate rcourse a nd bridge hPyo nd. ) * 100. Untitled , Bridge port, Connecti cut, 194 1. Supe rvised , 19.4 x 21.8 cm (Man , seen from hehind ma il boxf's, standing by ne wsstand. Trash can and bieycle lean in t; again st *9 1. Attr·ihuted to Walke r Evans bus-slop post. ) Untitled , J9:30s Vintage, 17.8 x 15.3 cm (Berlr· oom with dn:•sser , lamp , mirror , and hirrfrage .) !Ol. Untitled , " · 1941/42 Vintage, J 7.6 x 12.5 ""' (Two elde rl y women wearing hats, coals, and fl oral pa lle rrwd drf'sses sea ted while reading a *92. Untitled subway portra.it, New York. 1938 or 1941 newspaper .) (foll franw) Vintage, 13.3 x l 0 cm (Woman with dark coat, blond hair, a nd hat sitting lwlow suhwav sign. "7th Ave. Lo ca l. South F1 ·1..-v , 145th St. , L1 ·nox Ave.'· A rn an , who a ppears to lw n·adin g. sitting to lwr lf' ft. ) Vinta~" {'). 12.4 x 18.8 t·m

18 Soutlwusterri l'.S . . c·. 1'):~5 / ;j(i (C'al. no. 66) *102. Bedroom dresser , shrimp fisherman 's ho1Lse, 111. The State S treet Theater , Chicago, 1946 Biloxi, Mississippi , 1945 (part of series) (Ornate dresser surrounded by pictures a nd other (Close-up of movie poster fo r "Souls in Pawn" a nd memorabilia. Opposite wall refl ected in mirror. ) box offi ce notices " Show Now Going On" a nd Supervised , 23.8 x 18. 7 cm " Ladies Invited .") Fortune lab (?), 19.2 x 18.8 cm *103. Bedroom, shrimp fisherman's house, Biloxi, Mississippi , 1945 (pa rt of series) 112. The S tate S treet Theater , Ch icago, 1946 (Interior wall with framed pictures. One depicts (pa rt of series) J es us with sacred heart; another depicts Saint (Facade of State Street Thea te r with numerous Francis holding the infant J esus.) posters and signs advertising " Live Burlesque" a nd Supervised , 18.3 x 23 .4 cm "Souls in Pawn." Black people wa lking by.) Supervised , 26.4 x 25 cm *104. Bedroom, shrimp fish erman 's house, Biloxi, Missis sippi, 1945 113. Co rner of State and R andolph streets, Chicago, (Corner view of bedroom with Christian symbols a nd 1946 plaque on wall that reads " What is home without a (S miling woman near streetcar entrance.) mother .") Fortune la b (?), 20.4 x 20.4 cm Supervised , 23.4 x 18.3 cm *114. Co rner of S tate and R andolph. streets, Chicago, *105. Untitled , Chicago, 1946 1 946 (C hicago skyline with smokestacks, water reservoir, (P edestrians al busy intersection. Young woman, a nd street lamp in foreground.) dressed in dark clothing a nd wearing a hat with a Fo.rtune lab (?), 18.9 x 25.4 cm bouquet, walking in foreground.) Supervised , 26.4 x 25.1 cm *106. Untitled , Chicago, 1946 (C hicago Loop seen from lakeshore. Large parking 11 5. 2033 Prairie Avenue, Chicago, 1946 (full fra me) lot in foreground .) (Deteriorating three-stor y house; industrial Fortune lab, 19.l x 24.2 cm buildings in background.) Fortune lab (?), 26.3 x 21. 7 cm 107. Untitled , Chicago, 1946 (Bird's-eye view of Monroe Street looking east from 116. Christ or Chaos?, Chicago, 1946 Mi chi gan Avenue. Large parking lot behind railroad (Sma ll sign that reads "Christ or Chaos?" allached tracks.) to a tree standing beside a country road. ) Fortune lab (?), 18.4 x 18.5 cm Fortune lab, 21.9 x 19.8 cm

*108. Untitled , Chicago, 1946 11 7. Untitled , Chicago, c. 1946 (S mokestacks and " Dad 's Root Beer" billboard. (View looking up a t fa cades of three Michigan Wrigley and other Chicago buildings in Avenue skyscra pers. Central one finished in white background.) stone.) Fortune la b (?) , 24.6 x 19.4 cm Fortune lab (?), 25.4 x 20.3 cm

*109. What, No Garters?, Chicago, 1946 118. Untitl ed , Chicago, c. 1946 (Close-up view of movie poster for "Souls in Pawn" (Interior view of Union Sta tion. Three pillars in juxtaposed against ta ttooing, billia rds, and motel foreground.) signs cantilevered over sidewalk .) Fortune lab (?), 20.5 x 20.5 cm Fo rtune lab (?), 19.2 x 18.9 cm 119. Untitled , Chicago, c. 1946 110. The S tate S treet Theate r , Chicago, 1946 (Interior view of Union Station. Open central space (Two patrons sta nding near box offi ce of cinema with benches a nd people. Ma n walking in fore­ featuring HSouls in Pawn .") ground.) Forttme lab (?), 15.7 x 18.9 cm Fortune lab(?), 20.5 x 20.5 cm

20 Untitled , Bridge port. Connerti r ut. 1941 (('a t. no. 100) 120. Untitled , Chicago, c. 1946 *128. Untitled , Container Corporation , c. 1950 (Back view of a woman wearing a trench coat and (part of series; undocumented annotation on back carrying parcels while walking along concrete wall . of print) Sign on waU pointing to (Ra n)dolph Street.) (Factory rooftops with smokestacks a nd da rk clouds Fortune la b (?), 20.5 x 20.5 cm of smoke.) Fortune lab (?), 22.1 x 33.3 cm *121. Randolph Street, Chicag o , c. 1946 (Bird's-eye vi ew of busy sidewalk in front of 129. The parlor chairs, Oldwick , New Jersey, 1958 "Stouffe r 's.") (v ariant) Fortttne lab (?), 18. l x 17 .2 cm (Upper middle-class interior with upholste red chair, wallpaper , lamp on table, picture on wall , and *122. Commercial Quarter , South 3rd Street , Padu­ carpet; a ll decorated with fl oral motifs.) cah , Kenlllck y, 1947 Supe rvised , 15.9 x 11 .7 cm (S treet corner with telephone poles bearing crisscrossed wiring. Photographed from shaded *130. Third Avenue , New York City, 1959 sidewalk.) (Window display with mannequin mimicking a tailor Fortune lab(?), 25.2 x 23.l rm making alterations.) Fortune lab (?), 34.4 x 24. l cm 123. Johnny Dunn's Sandwich Shop, Paducah , Kentuck y, 1947 (cropped ve rsion) 131. Harbor Point , Michig an, 1960 (Brick facade with soft drink ads and " Johnny (Priva te residence with open front porch a nd two Dunn' s Sandwich Shop" sign.) turrets framing the second-fl oor balcony. Expansivt> Vintage(?), 16 x 20. 1 cm lawn surrounds property.) Fort1we lab, 31.6 x 21.9 cm *124. Paducah, Kentucky, 1947 (People sitting on bench near river with 132. Harbor Point, Michig an, 1960 paddlewheel boat. Pair of trees frame people.) (Dark interior with two chefs cooking over large Vintage(?), 20.5 x 20.5 cm brick fireplace.) Fortune lab, 24.2 x 23.9 cm 125. Untitled, New E ngland, 1940s (Ionic doorway on brick building. Mille r's residence 133. Harbor Point, Michig an, 1960 bearing street number 32.) (View of boardwalk leading to wharf and waterfront Supervised , 23.3 x 18.6 cm as seen from under portico of large building. Two men standing in foreground. ) 126. Untitled , Container Corporation, c. 1950 Fortune lab, 24.2 x 23. 9 cm (part of series; undocumented a nnota ti on on back of print) 134. Pittsburg h , c. 1960 (Factory plant with multiple smokestacks seen from (Bird's-eye vi ew of business district with skyscrap­ acr oss river. Large cloud of smoke rising diagona ll y ers, highways , steel truss bridges , and river in in the sky. Railroad tracks in fo reground.) foregr ound .) Fortune lab (?), 25.6 x 23.5 cm Fortune lab (?), 19.9 x 25.8 cm

127. Un titled , Containe r Corpora ti on, c. 1950 135. Boston , Massachusetts, 1964 (part of series; undocumented a nnotation on back (Forged-iron fence with pillars gua rding entrance to of print) public park.) (Factory plant with multiple smokestacks seen from Fortune lab, 26. 7 x 26. 7 cm across river. Railroad tracks in foreground. Sky fill s approximately one quarte r of fra me.) *136. Bedroom dresser , Newcas tle, Maine, c. 1967 Fortune la b (?), 23.3 x 22.2 cm (variant) (Bedroom co rner seen from doorway. Dresser , mirror, round ta bl e, a nd two chairs along left wall. Sma ll rug on wood fl oor.) Supervised , 19 x 19.4 cm

22 Podul· ah. Keritucl.:y, 19.J. 7 (cat. no. 124) 137. Trash can, New York ,'" 1968 144. nknown FSA (?) photographer ("Thalco" pine dt>od orant co ntairwr and other Untitl t> d , 1935/38 refu se in trash can .) (Black woman with fo ur children on porch of Super vised , 12.4 x 18.6 cm wooden house . Fifth child partiall y hidden by corner post. ) 138. Untitled , 1973 Vintage, 17.3 x 24. 5 cm (Torn posters on sid t> of building, including one for the 1973 London music festival. ) 145. J ohn Szarkowski , photographer Kodak color print on resin-coated paper House, Monticello, Minnesow, 1957 Super vised , 19.3 x 19.3 cm (Screened porch with white pillars and two wooden chairs. Small decorative fe nce surrounds flowers in T he following photographs are not hy Evans; foreground.) however , they are pa rt of the RuttPnbt"rg Vin tage, 25.3 x 31.4 cm Promised Gift. 146. J erry L. Thompson , photographer 139. Peter Sekaer. photograph t> r Portrait. of Walker Evans, 1973

Untitl ed, Rout e 22 north of Wet>ba tLl<'k. t'W York, (S houlder-length portrait of Evans with whi te beard 1935 and eyeglasses.) (Roadside huiJding wi th archt>d roof and sign that Vin tage, 20.4 x 16. l cm rt>ads "Ca r penter·s & J oinr(r )s Local Union No. 1190.") Vint age(?), 15.8 x 20. 7 cm

140. Unknown FSA (?) photograplwr Untitled , 1930s (Rear view of horsP carriage with two passengers along dirt road. One passenge r is holding an umbrelJ a.) V int ag~, 18. l x 23.3 cm

141. Unknown FSA(?) photogra pher Untitled , 1930s (S houlder·-length portrait of yo ung blond gi rl resting her right hand on metal fence.) Vintage, 14 x 19.6 cm

142. Unknown FSA(?) photographer Un titled , 1930s (S houlder·-length portrait of middle-aged man wearing tie and suspenders and leaning, with clasped hands, on a metal fe nct>.) Vi ntage, 15.5 x 19.3 cm

143. nknown FSA(?) photographer Untitled , 1935/38 (?) (Black woman with two children sitting on door sash .) Vin tage, 11.6 x 18.4 <'m

24