The photograph offered here is a rare early print of one of Walker Evans’s most celebrated images. It bears the stamp of the Farm Security Administration. In 1935, Evans was hired by Roy Stryker, head of the Information Division of the Resettlement Administration, a governmental agency of the New Deal, to document RA projects across the country. The RA was transferred in 1937 to the Farm Security Administration, with Stryker in charge of assigning photographers. Evans left the FSA later in 1937, although his photographs remained with the agency publication in newspapers and magazines. The FSA stamp on the verso of the present print indicates that it was made between 1937 and 1942, after which point the FSA was absorbed into the Office of War Information and the FSA stamps were retired.
Evans made this photograph after completing a series of assignments for Stryker in the Southern Atlantic states. On his trip back to Washington, Evans stopped in Savannah, Georgia, where he encountered a window display in the town’s photo studio. In 1971, he reflected upon the making of this photograph in an interview conducted by Leslie Katz and published in Art in America:
"The only reason this photograph has any value is, an instinct is touched in it. “This is for me.” It’s like the meaning of a person. The singular importance of this spoke to me that way. It’s uproariously funny, and very touching and very sad and very human. Documentary, very real, very complex, all these people had posed in front of the local studio camera, and I bring MY camera, and they all pose again together for me. That’s a fabulous fact. I look at it and think, and think, and think about all those people."
The remarkable selection of photographs offered in this auction as lots 143 through 167 all come from the collection of Peter C. Bunnell (1937-2021), the pioneering curator, teacher, and photographic historian. Bunnell began his long career in photography as a student of Minor White’s at the Rochester Institute of Photography in the 1950s and was recruited by White to work on the seminal periodical of artistic photography, Aperture. He joined the staff of The Museum of Modern Art in 1960 as a collection cataloguer, becoming Associate Curator and then Curator of Photography. At MoMA he curated the noteworthy exhibitions Photography as Printmaking (1968), Photography into Sculpture (1970), and the first retrospective of the work of Clarence H. White (1971). In 1972, he was hired as the inaugural David Hunter McAlpin Professor of the History of Photography and Modern Art at Princeton University.
Bunnell served as Director of the Princeton University Art Museum from 1973 to 1978, and as Acting Director from 1998 to 2000, while also being the Museum’s Curator of Photography throughout the entirety of his tenure. Bunnell built a broad-ranging collection of photographs at the Museum, the firsthand examination of which became a central element of the student experience in his classes and seminars. ‘These photographs are used,’ he said, ‘they don't just sit around in boxes.’ Bunnell published widely on many photographers and photographic subjects. He was the acknowledged authority on the work of both Minor White and Clarence H. White, and it was through him that the archives of these two major photographs now reside at Princeton. As a teacher and a mentor, Bunnell professionalized the study of photographic history, conferring a higher degree of rigor and status to the medium, and inspiring an entire generation of curators and photographers.
Bunnell also built a personal collection of photography over the course of his long career that reflects his vast and deep understanding of photography. Begun in the 1950s, before photography galleries and dealers were commonplace, the collection incorporates some outstanding rarities by Ansel Adams, his teacher and mentor Minor White, Edward Weston, Walker Evans, Alfred Stieglitz, Edward Steichen, Harry Callahan, Frederick Sommer, his friend Jerry Uelsmann, and many other photographers who touched his life or his sensibility in some important way. It is a deeply personal collection put together with a sense of joy and curiosity that includes both icons and lesser-known gems spanning the history of photography.
This auction’s proceeds will be distributed to six institutions with whom Bunnell was associated—Rochester Institute of Technology, Ohio University, Yale University, The George Eastman Museum, The Museum of Modern Art, and Princeton University Art Museum—to establish endowments to support the study of photographic history.
