16

Imogen Cunningham

1883-1976

"Rubber Plant 3," circa 1929

Silver bromide enlargement print on glossy paper mounted to a thin board mount
Signed in pencil on the mount, at right: Imogen Cunningham; titled on the artist's Mills College label affixed to the verso of the mount
Image/Sheet: 9" H x 7.25" W; Mount: 16" H x 14" W

  • Provenance: The Artist
    Grete Heilbuth (agent for the artist), acquired from the above
    Frederick W. Davis, acquired from the above, Mexico, June 1932
    Private Collection, Southern California, by descent from the above
  • Literature: Minor White, ed., "Aperture" 11, no. 4 (1964). [titled and dated here: Pflanzenformen, Rubber Plant, before 1929.]
    Imogen Cunningham, "Imogen Cunningham: Die Poesie der Form" (Schaffhausen: Fotografie Forum Frankfurt, 1993), 21.
    Vivian Endicott Barnett, "The Blue Four Collection at the Norton Simon Museum" (New Haven and London: Yale University Press in association with The Norton Simon Art Foundation, 2002), 447, plate 452.
    Gloria Williams, ed., "The Collectible Moment: Catalogue of Photographs in the Norton Simon Museum" (London and New Haven: Yale University Press, 2006), plate 167.
  • Notes: We are grateful to Susan Ehrens for her assistance in cataloguing this work and providing the lot notes.

    The artist's label verso was designed by Cunningham's artist husband, Roi Partridge, and used from 1929 to 1934.

    With the recent resurfacing of a trove of rare photographs in the Frederick W. Davis Estate, a new name is now being associated with the life and oeuvre of photographic artist Imogen Cunningham: Grete Heilbuth. German-born Grete Heilbuth (also known as Grete Hilbert, Marga Hilbert, and Grete Williams) immigrated to the United States in 1922, settling in Oakland, California. It is likely that Imogen Cunningham met Heilbuth in the early 1920s, when Cunningham's artist husband, Roi Partridge began teaching at Mills College, or by 1925, when Partridge became the first director of the Art Gallery at the college. In the Summer of 1932, Grete Heilbuth spent almost three months in Mexico City, gathering works by Mexican artists for a Fall exhibition at Courvoisier Gallery in San Francisco. During this time Heilbuth made a presentation of Cunningham's photographs to Frederick Davis. Among the nineteen photographs that Cunningham had shipped to Heilbuth in Mexico in June, the majority were botanical forms. Cunningham's notebooks indicates that four photographs were sold. "Rubber Plant" and "Two Callas," have both resurfaced in the Estate of Frederick W. Davis. The whereabouts of the other two Cunningham photographs, a portrait of Frida Kahlo and her botanical, "Aloe Bud," are unknown.

    Imogen Cunningham printed this photograph using smooth, glossy paper, which offered a broader range of tonality and contrast compared to the warm-toned, matte papers favored by her and other photographers in the 1920s. This print is likely one of the earliest versions, and currently, it's the only known print from this negative on this specific photographic paper.

    While Cunningham's "Two Callas" showcases a full frame of blossoms, leaves, and stamen, "Rubber Plant 3" exemplifies minimalism, emphasizing the plant's sculptural leaves against a dark background.

    "Two Callas" and "Rubber Plant 3" in the Frederick Davis Collection may seem quite different at first glance, but their harmonious relationship becomes apparent when viewed together. Both images are grandly composed and framed using natural light. It's highly likely that Fred Davis also recognized this relationship when presented with a group of Cunningham's photographs in June 1932 in Mexico.

    Another 1920s print of "Rubber Plant 3" by Cunningham is housed in the Eastman Museum's collection in Rochester. The Norton Simon Museum in Los Angeles holds a 1971 print made by Cunningham from the same negative, exchanged for her vintage print from the museum's Galka Scheyer Collection. The location of the vintage print given to Cunningham in this exchange remains unknown at the time of this writing.

    The rarity of early prints of this image, the presence of Cunningham's Mills College P.O. label, and the association with the Frederick Davis provenance all contribute to the significance of this uncommon photograph.

    With the recent resurfacing of a trove of rare photographs in the Frederick W. Davis Estate, a new name is now being associated with the life and oeuvre of photographic artist Imogen Cunningham: Grete Heilbuth.

    German-born Grete Heilbuth (also known as Grete Hilbert, Marga Hilbert, and Grete Williams) immigrated to the United States in 1922, settling in Oakland, California. It is likely that Imogen Cunningham met Heilbuth in the early 1920s, when Cunningham's artist husband, Roi Partridge began teaching at Mills College, or by 1925, when Partridge became the first director of the Art Gallery at the college.

    In the Summer of 1932, Grete Heilbuth spent almost three months in Mexico City, gathering works by Mexican artists for a Fall exhibition at Courvoisier Gallery in San Francisco. During this time Heilbuth made a presentation of Cunningham's photographs to Frederick Davis. Among the nineteen photographs that Cunningham had shipped to Heilbuth in Mexico in June, the majority were botanical forms. Cunningham's notebooks indicates that four photographs were sold. "Rubber Plant" and "Two Callas," have both resurfaced in the Estate of Frederick W. Davis. The whereabouts of the other two Cunningham photographs, a portrait of Frida Kahlo and her botanical, "Aloe Bud," are unknown.
  • Condition: Available upon request.

    Framed under double-sided Plexiglas: 26" H x 22" W x 1" D


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