Imogen CunninghamAgave #8, c. 1928
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Silver gelatin print, printed c. 1928
Image size: 8 3/4 x 6 1/2 inchesPaper size: 10 x 8 inches
Silver gelatin print, printed c. 1928
Image size: 8 3/4 x 6 1/2 inchesPaper size: 10 x 8 inches
This exceptional work is a silver gelatin print, produced circa 1928, inscribed with the title on the reverse and accompanied by a letter of authenticity from Rondal Partridge.
Framing
We recommend book-mounting this print in a wide passe-partout and then framing it in a black wooden box. This classic method not only gives visual priority to the image but also fits seamlessly into most interiors. However, if you prefer a different look, other framing options are also available. Additionally, to ensure the highest levels of production, all of our frames are handcrafted to museum standards by one of the UK’s leading workshops. Please note that prices include tax, but exclude framing and shipping costs.
Shipping
We aim to ship unframed works within 2 weeks and framed works within 6 weeks. All orders are shipped from the UK and we always strive to deliver your print as quickly as possible. However, the delivery times may vary, depending on the specific artwork and your location. For exact details, please get in touch. Please note that prices include tax, but exclude framing and shipping costs.
Artwork In Detail
Honing in on the structural, elongated leaves of an Agave succulent, which Cunningham repeatedly photographed, she creates an image that is at once abstract and architectural. Taken in natural light, bright sunshine illuminates the outreached leaves, creating a series of highly contrasted patterns of shadow and light. These repeated patterns fold across the composition, weaving a detailed rhythm throughout the work. Agave leaves seemingly wrap around one another, protruding and receding in a display of optical illusion.
Imogen Cunningham
Agave #8, c. 1928
EnquireImogen Cunningham
United States
B. 1883–1976
EnquireWhereas Imogen Cunningham’s earlier work shows the influence of early twentieth-century Pictorialism, during the 1920s she started working in the geometric style of straight photography with the sharp linearity and vivid light of European Modernism. In 1932, she formed the group f/64 with Edward Weston and Ansel Adams, championing photography as an art form. Through her work, Cunningham sought to expose the visually profound in the mundane, focusing in particular on texture and light. She became particularly interested in photographing flowers and abstracting the shapes of the petals and leaves. In the 1940s, Cunningham turned to street photography and more traditional documentary photography, which continued to be a focus for the remainder of her career.
Born in 1883 in Oregon, United States, Cunningham studied at the University of Washington and the Technische Hochschule in Dresden, Germany. Cunningham is the recipient of a Guggenheim Fellowship and the American Academy of Arts and Sciences. Her work has been the subject of exhibitions at the Museum of Fine Arts, Boston, the Seattle Art Museum and the Getty Museum, Los Angeles. Her work is held in the permanent collections of the Museum of Modern Art, New York, the Museum of Fine Arts, Houston and the Metropolitan Museum of Art, New York, among others.
