拍品专文
The present lot is originally from the collection of Cole, the artist’s fourth son. Weston was enamored of this particular image and Charis’s graceful authenticity.
She leaned over in her acrobatic way—which might be called artificial, but is not artificial to her—until her breasts touched her thighs—her arms followed the movement toward the base, completing a form of architectural solidity and significance.
— Edward Weston
She leaned over in her acrobatic way—which might be called artificial, but is not artificial to her—until her breasts touched her thighs—her arms followed the movement toward the base, completing a form of architectural solidity and significance.
— Edward Weston