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WALKER EVANS
Walker Evans. New York: The Museum of Modern Art, 1971.
Oblong quarto (253 x 230mm). 100 black and white photographs. (Light spotting to the edges.) Original cloth, spine and front cover lettered in grey (light spotting); original photo-illustrated dust-jacket (light wear to the extremities); cloth folding box. Provenance: Walker Evans (inscription to:) -- Hilton Kramer.
FIRST EDITION, PRESENTATION COPY, INSCRIBED TO HILTON KRAMER: "with an inscribed glow and, I hope, a flourish. Walker Evans 1971." Kramer was an art critic at the New York Times from 1965 to 1982, when he left to found The New Criterion, and maintained a friendship with Evans over the course of many years. Kramer's introduction to James Mellow's biography of Evans refers to regular lunch-time discussions with Evans, whom he described elsewhere as "the greatest American pictorial artist of his generation" ('Walker Evans at the Met: A Devotion to High Art' in The New York Observer, 14 February 2000).
Walker Evans. New York: The Museum of Modern Art, 1971.
Oblong quarto (253 x 230mm). 100 black and white photographs. (Light spotting to the edges.) Original cloth, spine and front cover lettered in grey (light spotting); original photo-illustrated dust-jacket (light wear to the extremities); cloth folding box. Provenance: Walker Evans (inscription to:) -- Hilton Kramer.
FIRST EDITION, PRESENTATION COPY, INSCRIBED TO HILTON KRAMER: "with an inscribed glow and, I hope, a flourish. Walker Evans 1971." Kramer was an art critic at the New York Times from 1965 to 1982, when he left to found The New Criterion, and maintained a friendship with Evans over the course of many years. Kramer's introduction to James Mellow's biography of Evans refers to regular lunch-time discussions with Evans, whom he described elsewhere as "the greatest American pictorial artist of his generation" ('Walker Evans at the Met: A Devotion to High Art' in The New York Observer, 14 February 2000).