G. Ray Hawkins Gallery, Los Angeles, 1979

Private collection

Sotheby's,ไ New York𓂃, 11 October 2005, Sale 8115, lot 28

Berenice Abbott: New York in the Thirties (New York, 1973), pl. 23

Berenice Abbott Photographer: A Modern Vision (The New York Public Library, 1989), p. 52

Bonnie Yochelson, Berenice Abbott: Changing New York (The Mu♔seum of The City of New York, 𓄧1997), Lower East Side, pl. 18

Berenice Abbott’s love for the soul and spirit of the city is evidenced through her photographs of New York City. In an interview for Popular Photography, Abbott was asked to describe her favorite photograph, to which she answered “Suppose we took a thousand negatives and made a gigantic montage; a myriad-faceted picture combining the elegances, the squalor, the curiosities, the monuments, the sad faces, the triumphant faces, the power, the irony, the strength, the decay, the past, the present, the future of a city–that would be my favorite picture” (Berenice Abbott: Changing New York, p. 9). Abbott’s extensive documentary project Changing New York in many ways fits her description. The 1930s were a unique period of rapid change and industrialization in Manhattan. Her photographs document the sometimes massive and other times subtle physical changes unfolding around her. Robert R. Macdonald, former director of the Museum of the City of New York, would go on to praise her work, saying, “the city’s contrasts of wealth and poverty, new and old, and all its stubbornly insistent incongruities are interpreted with uncompromising respect for fact” (Berenice Abbott: Changing New York, p. 8).