signed, dated, and numbered '4/10' and 'B155.1' by the photographer in ink in the margin, numbered and annotated 'Sudek' by the photographer in pencil on the reverse, matted, framed, 1985, no. 4 in an edition of 10 

Robert Miller Gallery, New York

Acquired by🐭 the Quillan ♏Company from the above, 1990

This print:

Jill Quasha, The Quillan Collection of Nineteenth and Twentieth Century Photographs (New York, 1991), pl. 68

John Szarkowski, Jan Groover: Photographs (Boston, 1993), pl. 5

Another print of this image:

Susan Kismaric, Jan Groover (The Museum of Modern Ar🌟t, 1987, i🐬n conjunction with the exhibition), pl. 37

This photograph has deep, lush, warm tones. When examined in raking light, a small raised area can be seen in the upper right quadrant --- this does not break the emulsion. There is a faint soft indentation, visible faintly in raking light, above the tendrils of the sprouting onion. There are linear indentations running the length of the left, top, and right margins, and creases in the upper portion of the right margin - these issues do not affect the image.
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Jan Groover's work is defined by the still life, a subject that has engaged her throughout her career.  This photograph in particular is reminiscent of late still life works by Josef Sudek (Lot 54), whose name Groover has inscribed on the reverse of the present print.  An eerily evocative image in which the elements appear to shift in and out of focus, the photograph is carefully constructed of such everyday materials as𒁃 a kitchen knife and a sprouting onion.  Trained originally as a painter, Groover brings to photography an eye for composition and, like Sudek, a willingness to experiment with a variety of processes for pictorial effect.