Bill Brandt
The Pilgrims Way, Kent, 1950
Vintage Gelatin Silver Print
22.9 x 19.4 cms
9 1/16 x 7 10/16 ins
Series: 6. Landscapes
11138
Further images
Provenance
The Estate of Bill BrandtEdwynn Houk Gallery, New York
Exhibitions
Bill Brandt: Shadow & Light, (New York: The Museum of Modern Art, 2013). This print exhibited.Literature
Sarah Hermanson Meister, Bill Brandt: Shadow & Light, (New York: The Museum of Modern Art, 2013), (illustrated p.142)Bill Jay and Nigel Warburton, Brandt: The Photography of Bill Brandt, Harry N. Abrams, New York, 1999 (illustrated full page p.180)
Bill Brandt, Shadow of Light, 1977 (illustrated p.103)
Titled, in ink, on verso. Photographer's 'Bill Brandt' stamp on verso. Believed to be the only vintage print. This heavily over-worked print was exhibited in Bill Brandt: Shadow & Light,...
Titled, in ink, on verso. Photographer's "Bill Brandt" stamp on verso.
Believed to be the only vintage print.
This heavily over-worked print was exhibited in Bill Brandt: Shadow & Light, (New York: The Museum of Modern Art, 2013).
Extensively overworked by Brandt in ink and pencil. The overworking is so overt and strange at the end of the path that this print much surely have been the one used for later copyprints of this image.
This photograph is discussed by Brandt in the celebrated BBC interview for Master Photographers (1983)
This photograph is amongst Brandt's most abstract and most mysterious, providing a path for several later British photographers, including Paul Hill, whose Diagonal Stones, Matlock, Bath (1975), also in the Hyman Collection, exploits a similiar path by diagonally bisecting a mysterious landscape.
Copyright The Bill Brandt Archive, London / Courtesy Edwynn Houk Gallery, New York / Zürich. 2018
British Photography / The Hyman Collection
Believed to be the only vintage print.
This heavily over-worked print was exhibited in Bill Brandt: Shadow & Light, (New York: The Museum of Modern Art, 2013).
Extensively overworked by Brandt in ink and pencil. The overworking is so overt and strange at the end of the path that this print much surely have been the one used for later copyprints of this image.
This photograph is discussed by Brandt in the celebrated BBC interview for Master Photographers (1983)
This photograph is amongst Brandt's most abstract and most mysterious, providing a path for several later British photographers, including Paul Hill, whose Diagonal Stones, Matlock, Bath (1975), also in the Hyman Collection, exploits a similiar path by diagonally bisecting a mysterious landscape.
Copyright The Bill Brandt Archive, London / Courtesy Edwynn Houk Gallery, New York / Zürich. 2018
British Photography / The Hyman Collection