4 September 2024: Edward Weston, His Mysterious “A,” and Her Bohemian Family Revealed

Amaryllis, 1928. Gelatin silver print. 
(Bowdoin College Museum of Art, Brunswick, Maine, Museum Purchase; 1988.39)

“… last night I took A. into my arms, and found her lips were waiting mine…”[1]

Note: Unless stated otherwise, all photographs and archival materials illustrated in this post are currently owned, or were owned in the past, by Paul M. Hertzmann, Inc. All photographs by Edward Weston © Center for Creative Photography [CCP], University of Arizona.

A SERENDIPITOUS REVEAL

Edward Weston is legendary for his numerous love affairs—some brief, others relatively enduring. Never happy in his first marriage to Flora Chandler, Weston enjoyed lengthy relationships with Margrethe Mather, Tina Modotti, Sonya Noskowiak, and Charis Wilson—arguably THE love of his life—whom he married in 1939. Weston mentions these women openly in his Daybooks, which overflow with detailed accounts of family, social, artistic and professional experiences. But the journals are also peppered with startling, deeply personal, sexually charged revelations. In a bid to discretion, Weston rarely identifies his other lovers by name, only by initial, leaving today’s readers in a state of frustrated curiosity.

One of the more intriguing of these mystery lovers is “A,” whose presence dominates Weston’s Daybooks from October to December 1928 during his sojourn in San Francisco. This youthful beauty with “chestnut eyes,”[2] about whom Weston writes with such ardor and frequency, was clearly one of his great passions. I wondered who she might be, but harbored little hope of unravelling the nearly century-old secret. Then, through a serendipitous acquaintance made during a vacation in 2022, the enigmatic “A” was unexpectedly revealed.[3]

Continue reading “4 September 2024: Edward Weston, His Mysterious “A,” and Her Bohemian Family Revealed”

17 September 2020: Edward Weston At Home at Wildcat Hill

Larry Colwell, Edward Weston’s Mailbox, Carmel Highlands, Calif., 1955. Vintage silver print.

“The photographer who stays at home has one great advantage over the photographer who travels—his familiarity with his surroundings. He can study his material constantly, know how it looks at different times of day and seasons of year. He knows when the light is best in all of his favorite places, when the weather will be good, what kind of clouds to expect.”[1]  —Edward Weston. “Photographing California [Part II].” Camera Craft, March 1939


Note: Unless stated otherwise, all photographs illustrated in this post are currently owned, or were owned in the past, by Paul M. Hertzmann, Inc. All photographs by Edward Weston © Center for Creative Photography, University of Arizona.


“Weston on the Way” proclaimed The Carmelite on 26 December 1928: “Edward Weston is coming to Carmel for an indefinite stay, arriving early in January. He will occupy the Hagemeyer studio, with his son Bret [sic] Weston.”[2]

Weston’s first Carmel studio advertisement, The Carmelite, 13 February 1929, p. 7.

Long an intellectual and artistic community of great natural beauty, Carmel offered an ideal location for a creative individual like Weston. He would call it home for most of his life and gain inspiration there for many of his greatest photographs. Even today, an indelible link persists between Weston—man, work and Wildcat Hill home—and the special ethos of the Carmel region.

Continue reading “17 September 2020: Edward Weston At Home at Wildcat Hill”