Walker Evans, III

http://en.wikipedia.org/wiki/Walker_Evans

Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer best known for his work for the Farm Security Administration (FSA) documenting the effects of the Great Depression. Much of Evans's work from the FSA period uses the large-format, 8x10-inch camera. He said that his goal as a photographer was to make pictures that are "literate, authoritative, transcendent". Many of his works are in the permanent collections of museums and have been the subject of retrospectives at such institutions as The Metropolitan Museum of Art or George Eastman House.

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Walker Evans (1903-1975) is considered the best American documentary photographer of the twentieth century. His photographs of sharecroppers in Depression-era Alabama appeared in the book, Let Us Now Praise Famous Men, published in 1941 with text by writer and journalist James Agee. Although he spent only a few weeks of his life in the state, his Alabama photos represent Evans's most famous and perhaps finest work. Evans's Alabama photographs have become iconic images of the Great Depression era and gave a personal face to an overlooked segment of American society.

Walker Evans was born in Saint Louis, Missouri, on November 3, 1903, to Walker (an advertising director) and Jesse Crane Evans. The family moved to several cities while Walker was a child. In 1922, he graduated from Phillips Academy in Andover, Massachusetts. Evans briefly attended Williams College in Massachusetts before moving to New York City to work various odd jobs. In 1926, Evans moved to Paris and occasionally audited classes at the Sorbonne. As an American expatriate in Paris, Evans pursued a writing career but doubted his ability to achieve the high literary standards he set for himself. The relatively new technology of the camera attracted him, and he began experimenting with photography as his medium for artistic expression.

By 1928, Evans was back in New York and working seriously with photography. His first published photographs illustrated a 1930 volume of Hart Crane's poem "The Bridge." Evans quickly established a reputation as a photographer and began a series of photographic commissions and exhibitions. In 1935, he commenced work on photographic surveys for the Farm Security Administration (FSA), an agency created as part of Pres. Franklin Roosevelt's New Deal recovery plan during the Great Depression. Evans was charged with documenting rural and working-class American landscapes and in 1935 began traveling in Pennsylvania, West Virginia, and the southern states. Officially, Evans was there to record documentary pictures of Birmingham's industrial areas and "rural subjects" in other parts of the state, but his interest was often drawn to more whimsical images that did not always follow the FSA mission and mandate. For example, some of his most memorable Alabama photographs from the period include pictures of festive and fading posters for traveling circuses and theatrical troupes.

In 1936, Fortune magazine asked James Agee to write an article about sharecroppers in the Deep South for its series about American life called "Life and Circumstances." Agee requested Walker Evans as the project's photographer. Evans took leave from the FSA and travelled to Alabama with Agee in the summer of 1936, in search of subjects for the collaboration. Agee and Evans arrived in Hale County, an area of the state that Evans had previously photographed for the FSA. At the Hale County Courthouse in Greensboro, they met three sharecroppers from the nearby community of Mills Hill. That day, Evans began to take some of the most remarkable and praised photographs of his career, and Agee began to gather material for his most challenging and enduring book, Let Us Now Praise Famous Men.

Evans and Agee spent several weeks in Hale County gathering and documenting material about the three families. Agee stayed for a time in the tiny farmhouse of one family, but Evans stayed in a nearby hotel. The black-and-white photographs he took for the Fortune assignment are straightforward and powerful. The portraits are a stark and memorable document of the earnest, proud, and straightforward farm families of the region. Two of the most commonly reproduced examples, "Floyd Burroughs, Sharecropper, 1936" and "Allie Mae Burroughs, Wife of a Sharecropper, 1936," present the viewer with an image of forthright dignity.

Evans's photographs of the farmhouses themselves achieve an enduring power through their masterful framing and composition. In "Kitchen, Burroughs Home, 1936," for example, the monotony of the bare plank floors and walls is punctuated by simple necessities: a bowl on a shelf, a plain towel hanging from a nail, a plain wooden table covered with patterned oilcloth, a kerosene lantern, a chair, a pantry with a large churn on its shelf, bright sunlight from an unseen window.

Fortune never published Agee's article, but the book, Let Us Now Praise Famous Men, appeared finally in 1941. Agee's epic text was complemented by a portfolio of 31 of Evans's photographs. The book, especially the photographs, received respectful reviews, but only 600 copies were sold after the initial publication. However, Evans's Alabama photographs soon developed a life of their own. In 1938, New York's Museum of Modern Art mounted an exhibition titled "Walker Evans: American Photographs," and the Alabama photographs were included in the exhibition and in the show's catalog.

Evans left the FSA in 1937. As his reputation increased, he continued to publish photographs, exhibit his work, and receive prestigious grants. He contributed book and other reviews to Time magazine from 1943 to 1945. In 1945, he became a staff photographer and eventually Special Photographic Editor at Fortune. He married Jane Ninas in 1941, but they divorced in 1955.

In 1960, a second edition of Let Us Now Praise Famous Men was published, with an expanded portfolio of 62 Evans images. The re-issue brought Evans's work to a whole new audience and earned him enthusiastic new appreciation. That same year, Evans married Isabelle Boeschenstein von Steiger. By 1965, he had left Fortune and become a professor of graphic design at Yale University in New Haven, Connecticut. He was internationally regarded as a grand master of American photography. His work and publications continued to gather a wide and appreciative following with each generation. Evans retired from Yale in 1972. His second marriage ended in divorce the following year.

In 1973, Evans returned to Hale County for the first time since 1936. On this brief visit, he travelled with Alabama-born artist William Christenberry, whose own photographic work was greatly influenced by the 1960 re-issue of Let Us Now Praise Famous Men. This time, Evans photographed in color using a simple Polaroid SX-70 camera.

Some of the 1973 Alabama photographs by Evans were included in a touring exhibition of the photography of Evans and Christenberry organized by the Amon Carter Museum of Fort Worth, Texas, in 1990. An exhibition catalog, Of Time and Place, was published the same year. Walker Evans suffered a massive stroke and died in New Haven, Connecticut, on April 10, 1975, at age 71. Evans's images of the state and its people remain an important commentary on life in Depression-era Alabama and on the character of the people who endured it.

Walker Evans (1903–1975)

Walker Evans is one of the most influential artists of the twentieth century. His elegant, crystal-clear photographs and articulate publications have inspired several generations of artists, from Helen Levitt and Robert Frank to Diane Arbus, Lee Friedlander, and Bernd and Hilla Becher. The progenitor of the documentary tradition in American photography, Evans had the extraordinary ability to see the present as if it were already the past, and to translate that knowledge and historically inflected vision into an enduring art. His principal subject was the vernacular—the indigenous expressions of a people found in roadside stands, cheap cafés (1971.646.35), advertisements (1987.1100.59), simple bedrooms, and small-town main streets. For fifty years, from the late 1920s to the early 1970s, Evans recorded the American scene with the nuance of a poet and the precision of a surgeon, creating an encyclopedic visual catalogue of modern America in the making.

Born in 1903 in St. Louis, Missouri, Evans dabbled with painting as a child, collected picture postcards, and made snapshots of his family and friends with a small Kodak camera. After a year at Williams College, he quit school and moved to New York City, finding work in bookstores and at the New York Public Library, where he could freely indulge his passion for T. S. Eliot, D. H. Lawrence, James Joyce, and e. e. cummings, as well as Charles Baudelaire and Gustave Flaubert. In 1927, after a year in Paris polishing his French and writing short stories and nonfiction essays, Evans returned to New York intent on becoming a writer. However, he also took up the camera and gradually redirected his aesthetic impulses to bring the strategies of literature—lyricism, irony, incisive description, and narrative structure (1972.742.17)—into the medium of photography.

Most of Evans’ early photographs reveal the influence of European modernism, specifically its formalism and emphasis on dynamic graphic structures. But he gradually moved away from this highly aestheticized style to develop his own evocative but more reticent notions of realism, of the spectator’s role, and of the poetic resonance of ordinary subjects. The Depression years of 1935–36 were ones of remarkable productivity and accomplishment for Evans. In June 1935, he accepted a job from the U.S. Department of the Interior to photograph a government-built resettlement community of unemployed coal miners in West Virginia. He quickly parlayed this temporary employment into a full-time position as an “information specialist” in the Resettlement (later Farm Security) Administration, a New Deal agency in the Department of Agriculture.

Under the direction of Roy Stryker, the RA/FSA photographers (Dorothea Lange, Arthur Rothstein, and Russell Lee, among others) were assigned to document small-town life and to demonstrate how the federal government was attempting to improve the lot of rural communities during the Depression. Evans, however, worked with little concern for the ideological agenda or the suggested itineraries and instead answered a personal need to distill the essence of American life from the simple and the ordinary. His photographs of roadside architecture, rural churches (1999.237.3), small-town barbers (1999.237.1), and cemeteries reveal a deep respect for the neglected traditions of the common man and secured his reputation as America’s preeminent documentarian. From their first appearance in magazines and books in the late 1930s, these direct, iconic images entered the public’s collective consciousness and are now deeply embedded in the nation’s shared visual history of the Depression (1987.1100.482).

In the summer of 1936, Evans took a leave of absence from the Resettlement Administration to travel to the South with his friend, the writer James Agee, who had been assigned to write an article on tenant farmers by Fortune magazine; Evans was to be the photographer. Although the magazine ultimately rejected Agee’s long text about three families in Alabama, what in time emerged from the collaboration was Let Us Now Praise Famous Men (1941), a lyric journey to the limits of direct observation. Its 500 pages of words and pictures is a volatile mix of documentary description and intensely subjective, even autobiographical writing, which endures as one of the seminal achievements of twentieth-century American letters. Evans’ photographs for Let Us Now Praise Famous Men are stunningly honest representations of the faces (2001.415), bedrooms, and clothing of individual farmers living on a dry hillside seventeen miles north of Greensboro, Alabama. As a series, they seem to have elucidated the whole tragedy of the Great Depression; individually, they are intimate, transcendent, and enigmatic. For many, they are the apogee of Evans’ career in photography.

In September 1938, the Museum of Modern Art opened American Photographs, a retrospective of Evans’ first decade of photography. The museum simultaneously published American Photographs—still for many artists the benchmark against which all photographic monographs are judged. The book begins with a portrait of American society through its individuals—cotton farmers, Appalachian miners, war veterans—and social institutions—fast food, barber shops, car culture. It closes with a survey of factory towns, hand-painted signs, country churches, and simple houses—the sites and relics that constitute the tangible expressions of American desires, despairs, and traditions (1987.1100.110).

Between 1938 and 1941, Evans produced a remarkable series of portraits in the New York City subway (1971.646.18). They remained unpublished for twenty-five years, until 1966, when Houghton Mifflin released Many Are Called, a book of eighty-nine photographs, with an introduction by James Agee written in 1940. With a 35mm Contax camera strapped to his chest, its lens peeking out between two buttons of his winter coat, Evans was able to photograph his fellow passengers surreptitiously, and at close range. Although the setting was public, he found that his subjects, unposed and lost in their own thoughts, displayed a constantly shifting medley of moods and expressions—by turns curious, bored, amused, despondent, dreamy, and dyspeptic. “The guard is down and the mask is off,” he remarked. “Even more than in lone bedrooms (where there are mirrors), people’s faces are in naked repose down in the subway.”

Between 1934 and 1965, Evans contributed more than 400 photographs to 45 articles published in Fortune magazine. He worked at the luxe magazine as Special Photographic Editor from 1945 to 1965 and not only conceived of the portfolios, executed the photographs, and designed the page layouts, but also wrote the accompanying texts. His topics were executed with both black-and-white and color materials and included railroad company insignias, common tools, old summer resort hotels, and views of America from the train window. Using the standard journalistic picture-story format, Evans combined his interest in words and pictures and created a multidisciplinary narrative of unusually high quality. Classics of a neglected genre, these self-assigned essays were Evans métier for twenty years.

In 1973, Evans began to work with the innovative Polaroid SX-70 camera and an unlimited supply of film from its manufacturer. The virtues of the camera fit perfectly with his search for a concise yet poetic vision of the world: its instant prints were, for the infirm seventy-year-old photographer, what scissors and cut paper were for the aging Matisse. The unique SX-70 prints are the artist’s last photographs, the culmination of half a century of work in photography. With the new camera, Evans returned to several of his enduring themes—among the most important of which are signs, posters, and their ultimate reduction, the letter forms themselves.

Walker Evans

• Born November 3, 1903 St. Louis, Missouri, U.S.
• Died April 10, 1975 (aged 71) New Haven, Connecticut, U.S.
• Nationality: American

Notable work

• American Photographs (1938)
• Let Us Now Praise Famous Men (1941)
• Many Are Called (1966) Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer and photojournalist best known for his work for the Farm Security Administration (FSA) documenting the effects of the Great Depression. Much of Evans's work from the FSA period uses the large-format, 8×10-inch (200×250 mm) view camera. He said that his goal as a photographer was to make pictures that are "literate, authoritative, transcendent".[1]

Many of his works are in the permanent collections of museums and have been the subject of retrospectives at such institutions as the Metropolitan Museum of Art or George Eastman Museum.[2]

Early life

He was born in St. Louis, Missouri to Jessie (née Crane) and Walker Evans.[3] His father was an advertising director. Walker was raised in an affluent environment; he spent his youth in Toledo, Ohio; Chicago; and New York City. He attended the Loomis Institute and Mercersburg Academy,[4] then graduated from Phillips Academy in Andover, Massachusetts in 1922. He studied French literature for a year at Williams College, spending much of his time in the school's library, before dropping out. He returned to New York and worked as a night attendant in the map room of the Public Library.[5] After spending a year in Paris in 1926, he returned to the United States to join a literary and art crowd in New York City. John Cheever, Hart Crane, and Lincoln Kirstein were among his friends. He was a clerk for a stockbroker firm on Wall Street from 1927 to 1929.[6]

Evans took up photography in 1928[1] around the time he was living in Ossining, New York.[7] His influences included Eugène Atget and August Sander.[8] In 1930, he published three photographs (Brooklyn Bridge) in the poetry book The Bridge by Hart Crane. In 1931, he made a photo series of Victorian houses in the Boston vicinity sponsored by Lincoln Kirstein.

In May and June 1933, Evans took photographs in Cuba on assignment for Lippincott, the publisher of Carleton Beals' The Crime of Cuba (1933), a "strident account" of the dictatorship of Gerardo Machado. There, Evans drank nightly with Ernest Hemingway, who lent him money to extend his two-week stay an additional week. His photographs documented street life, the presence of police, beggars and dockworkers in rags, and other waterfront scenes. He also helped Hemingway acquire photos from newspaper archives that documented some of the political violence Hemingway described in To Have and Have Not (1937). Fearing that his photographs might be deemed critical of the government and confiscated by Cuban authorities, he left 46 prints with Hemingway. He had no difficulties when returning to the United States, and 31 of his photos appeared in Beals' book. The cache of prints left with Hemingway was discovered in Havana in 2002 and exhibited at an exhibition in Key West.[9][10]

Depression-era photography

In 1935, Evans spent two months at first on a fixed-term photographic campaign for the Resettlement Administration (RA) in West Virginia and Pennsylvania. From October on, he continued to do photographic work for the RA and later the Farm Security Administration (FSA), primarily in the Southern United States.

In the summer of 1936, while on leave from the FSA, writer James Agee and he were sent by Fortune on assignment to Hale County, Alabama for a story the magazine subsequently opted not to run. In 1941, Evans's photographs and Agee's text detailing the duo's stay with three White tenant families in southern Alabama during the Great Depression were published as the groundbreaking book Let Us Now Praise Famous Men.[11] Its detailed account of three farming families paints a deeply moving portrait of rural poverty. Critic Janet Malcolm notes that a contradiction existed between a kind of anguished dissonance in Agee's prose and the quiet, magisterial beauty of Evans's photographs of sharecroppers.[12]

The three families headed by Bud Fields, Floyd Burroughs, and Frank Tingle, lived in the Hale County town of Akron, Alabama, and the owners of the land on which the families worked told them that Evans and Agee were "Soviet agents", although Allie Mae Burroughs, Floyd's wife, recalled during later interviews her discounting that information. Evans's photographs of the families made them icons of Depression-era misery and poverty. In September 2005, Fortune revisited Hale County and the descendants of the three families for its 75th-anniversary issue.[13] Charles Burroughs, who was four years old when Evans and Agee visited the family, was "still angry" at them for not even sending the family a copy of the book; the son of Floyd Burroughs was also reportedly angry because the family was "cast in a light that they couldn't do any better, that they were doomed, ignorant".[13]

Evans continued to work for the FSA until 1938. That year, an exhibition, Walker Evans: American Photographs, was held at the Museum of Modern Art, New York. This was the first exhibition in the museum devoted to the work of a single photographer. The catalogue included an accompanying essay by Lincoln Kirstein, whom Evans had befriended in his early days in New York.

In 1938, Evans also took his first photographs in the New York City Subway with a camera hidden in his coat. These were collected in book form in 1966 under the title Many Are Called. In 1938 and 1939, Evans worked with and mentored Helen Levitt.

Evans, like such other photographers as Henri Cartier-Bresson, rarely spent time in the darkroom making prints from his own negatives. He loosely supervised the making of prints of most of his photographs, sometimes only attaching handwritten notes to negatives with instructions on some aspect of the printing procedure.

Later work

Evans was a passionate reader and writer, and in 1945 became a staff writer at Time. Shortly afterward, he became an editor at Fortune through 1965. That year, he became a professor of photography on the faculty for graphic design at the Yale University School of Art.

In one of his last photographic projects, Evans completed a black-and-white portfolio of Brown Brothers Harriman & Co.'s offices and partners for publication in "Partners in Banking", published in 1968 to celebrate the private bank's 150th anniversary.[14] In 1973 and 1974, Evans used the new Polaroid SX-70 instant camera for his last work; the company provided him with an unlimited supply of film, and the camera's simplicity and speed were easier for the aged photographer.[15]

The first definitive retrospective of his photographs, which "individually evoke an incontrovertible sense of specific places, and collectively a sense of America", according to a press release, was on view at New York's Museum of Modern Art in early 1971. Selected by John Szarkowski, the exhibit was titled simply Walker Evans.[16]

Death and legacy

Evans died at his apartment in New Haven, Connecticut in 1975.[17] The last person Evans talked to was Hank O'Neal. In reference to the newly created A Vision Shared project, O'Neal recounts, "The picture on the back of the book, of him taking a picture – he actually called me up and told me he had found it”. “And then the next morning I got up and I had a phone call from Leslie Katz, who ran the Eakins Press. And Leslie said: ‘Isn’t it terrible about Walker Evans?’ And I said: ‘What are you talking about?’ He said: ‘He died last night.’ I said: ‘Cut it out. I talked to him last night twice’ … So an hour and a half after we had our conversation, he died. He had a stroke and died."[18]

In 1994, the estate of Walker Evans handed over its holdings to New York City's Metropolitan Museum of Art.[19] The Metropolitan Museum of Art is the sole copyright holder for all works of art in all media by Walker Evans. The only exception is a group of about 1,000 negatives in collection of the Library of Congress, which were produced for the Resettlement Administration and Farm Security Administration; these works are in the public domain.[20]

In 2000, Evans was inducted into the St. Louis Walk of Fame.[21][22]

Collections

• Art Institute of Chicago, Chicago, Illinois[23]
• George Eastman Museum, Rochester, New York[24]
• J. Paul Getty Museum, Los Angeles, California: 1338 works (as of January 2019[25]
• Metropolitan Museum of Art, New York City[26]
• Museum of Modern Art, New York City: 205 works (as of January 2019)[27]
• Whitney Museum of American Art, New York City: 16 works (as of January 2019)[28]
• National Gallery of Victoria, Melbourne, Australia: 36 works (as of April 2019)[29]
• International Photography Hall of Fame, St. Louis, Missouri[30]

References

• 1. [1] Archived March 14, 2008, at the Wayback Machine
• 2. Walker Evans, by Jeff L. Rosenheim, Maria Morris Hambourg, Douglas Eklund, Mia Fineman (Princeton University Press, 2000) ISBN 0-691-05078-3, ISBN 978-0-691-05078-2
• 3. "Walker Evans Dies; Artist With Camera", The New York Times, April 11, 1975
• 4. "Walker Evans by James R. Mellow". nytimes.com. Retrieved 2014-04-03.
• 5. Evans, W., & Szarkowski, J. (1979). Walker Evans. New York: The Museum of Modern Art.
• 6. Petruck, Peninah R. (1979). The Camera Viewed: Writings on Twentieth-Century Photography. E. P. Dutton.
• 7 "Walker Evans in Ossining". Ossining.org. Retrieved 2012-10-26.
• 8. Peter Galassi, Walker Evans & Company. The Museum of Modern Art, New York, 2002, p. 16.
• 9. Estrada, Alfredo José (2007). Havana: An Autobiography. New York: Palgrave Macmillan. pp. 187, 193–95, 266n. Estrada mistakenly identifies Beals' book as The Crimes of Cuba.
• 10. Beals, Carleton (1933). The Crime of Cuba. New York: Lippincott.
• 11. Giles Oakley (1997). The Devil's Music. Da Capo Press. p. 188. ISBN 978-0-306-80743-5.
• 12. Malcolm, Janet (1980). Diana & Nikon: Essays on the Aesthetic of Photography. David R. Godine. p. 149. ISBN 0-87923-273-0. The problem with Agee's book: the pictures and the text don't agree. The text is a howl of anger and anguish over the misery of the sharecroppers' lives ... 'Don't listen to him,' the serene, orderly Walker Evans photographs seem to say.
• 13. Whitford, David. "The Most Famous Story We Never Told". Fortune. Retrieved September 19, 2005.
• 14. "Guide to the Records of Brown Brothers Harriman 1696 -1973, 1995 (bulk 1820-1968) MS 78". Dlib.nyu.edu. Retrieved 2012-10-26.
• 15. Evans, Walker (1973–1974). "[Abandoned House]". The Metropolitan Museum of Art. Retrieved 2020-03-07.
• 16. Press release, 1971 Museum of Modern Art
• 17. Nau, Thomas (2007). Walker Evans: Photographer of America (illustrated ed.). Macmillan. p. 59.
• 18. "A Vision Shared: the photographers who captured the Great Depression".
• 19. Reena Jana. "Is It Art, or Memorex?". Wired.com. Retrieved 2012-10-26.
• 20. "Walker Evans". Masters of Photography. Retrieved 2012-10-26.
• 21. St. Louis Walk of Fame. "St. Louis Walk of Fame Inductees". stlouiswalkoffame.org. Retrieved 25 April 2013.
• 22. "Walker Evans Entry St. Louis Walk of Fame: Walker Evans"
• 23. "Walker Evans". www.artic.edu. Retrieved 2018-06-28.
• 24. "Search". George Eastman Museum. Accessed 28 June 2018.
• 25. "Walker Evans (American, 1903 - 1975) (Getty Museum)". The J. Paul Getty in Los Angeles. Retrieved 2019-02-01.
• 26. "Collection". www.metmuseum.org. Retrieved 2018-06-28.
• 27. "Walker Evans". The Museum of Modern Art. Retrieved 2019-02-01.
• 28. "Walker Evans". Whitney Museum of American Art. Retrieved 2019-02-01.
• 29. "Walker EVANS | Artists | NGV". www.ngv.vic.gov.au. Retrieved 2019-04-26.
• 30. "Walker Evans". International Photography Hall of Fame. Retrieved 21 February 2020.

Sources

• "Furniture Store Sign, Birmingham, Alabama"
• Walker Evans exhibition in the argus fotokunst art gallery in Berlin.

Further reading

• Crump, James (2010). Walker Evans: Decade by Decade. Hatje Cantz Verlag. ISBN 978-3-7757-2491-3.
• ambourg, Maria Morris; Jeff Rosenheim; Douglas Eklund; Mia Fineman (2000). Walker Evans. Princeton University Press / The Metropolitan Museum of Art. ISBN 0-691-11965-1.
• Leicht, Michael (2006). Wie Katie Tingle sich weigerte, ordentlich zu posieren und Walker Evans darüber nicht grollte. transcript Verlag, Bielefeld. ISBN 3-89942-436-0.
• Mellow, James (1999). Walker Evans. Basic Books. ISBN 978-0-465-09077-8.
• Rathbone, Belinda (2002). Walker Evans: A Biography. Thomas Allen & Son Ltd. ISBN 0-618-05672-6.
• Rosenheim, Jeff; Douglas Eklund. Alexis Scwarzenbach (ed.). Unclassified: A Walker Evans Anthology. Maria Morris * Hambourg. Scalo / The Metropolitan Museum of Art. ISBN 3-908247-21-7.
• Storey, Isabelle (2007). Walker's Way: My Years With Walker Evans. PowerHouse Books. ISBN 978-1-57687-362-5.
• Worswick, Clark; Belinda Rathbone (2000). Walker Evans: The Lost Work. Arena Editions. ISBN 1-892041-29-4.
• Reference: MyHeritage Family Trees - SmartCopy: Mar 2 2021, 19:07:26 UTC
• Reference: Ancestry Genealogy - SmartCopy: Mar 2 2021, 20:27:10 UTC
• Reference: Famous People Throughout History - SmartCopy: Mar 2 2021, 20:54:07 UTC