Private Collection, Malvern, Pennsylvania, 1986 (acquired directly from the artist)
Private Collection, Tokyo, Japan
Adelson Galleries, New York
Acquired by the present owner from the above

Washington, D.C., National Gallery of Art; Boston, Massachusetts, Museum of Fine Arts; Houston, Texas, Museum of Fine Arts; Los Angeles, California, Los Angeles County Museum of Art; San Francisco, California, Fine Arts Museums of San Francisco; Detroit, Michigan, Detroit Institute of Arts; Brooklyn Museum of Art, Brooklyn, New York; Tokyo, Japan, Seibu Pisa Ltd.; Amagasaki, Japan, Tsukashin Hall; Fukushima City, Japan, Fukushima Prefectural Museum of Art; Fukuoka, Japan, Fukuoka Museum of Art; Kanazawa, Japan, Ishikawa Prefectural Museum of Art; Seibu Takanawa, Karuizawa, Japan, Museum of Modern Art; Sapporo, Japan, Hokkaido Museum of Modern Art; Urawa, Japan, Saitama Museum of Modern Art, Andrew Wyeth: The Helga Pictures, May 1987-December 1990, no. 132, illustrated in color p. 116
New York, Adelson Galleries, Helga On Paper, November-December 2006, no. 49, illustrated in color p. 77

Very good condition, unframed: affixed to the mat at two places along top edge, remnant of tape on reverse at center top edge, and bottom corners held in corner supports.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In a conversation wi💫th Thomas Hoving, Andrew Wyeth stated "I met Helga at Karl and Anna Kuerner's where I've painted for years. Karl's health was fading and whenever one of my subjects begins to go I find a younger subject. It's like spring following winter.... One day in 1971 I met Helga at the Kuerners'. She was married to Johnny Testorf who supervised the local gardens (Longwood Gardens) and was a friend of the Kuerners. She's come over and help them in their chores.... I was entranced the instant I saw her. I thought she was the personification of all young Prussian girls and she possessed all the qualities of the Kuerner girls. Amazingly blond, fit, compassionate. I was totally fascinated by her. God, I thought, I have to have her as my next model! The difference between me and a lot of painters I that I have to have a personal contact with my models. I don't mean a sexual love, I mean real love. Many artists tell me that they don't even recall the names of their models. I have to fall in love with them – hell, I do much the same with a tree or a dog. I have to become enamored, smitten. That's what happened when I saw Helga walking up the Kuerners' lane. She was this amazing, crushing blond."