albumen print, titled 'Nymphaea' and numbered '700' in pencil on the reverse, framed, circa 1910

Collection of Berenice Abbott / Julien Levy, 1968

The Museum of Modern Art, New York, 2002

For other Atget views of this subject, see

John Szarkowski, Atget (New York, 2000), pp. 100-1

Grading this albumen print on a scale of 1 to 10--a 10 being an albumen print with deep brown dark tones and highlights that retain all of their original detail--this print rates a 10. It is a strong print with great detail throughout, from the individual leaves of the waterlilies to the shimmering surface of the water. It has rich saturated eggplant tones, bright highlights, and a smooth surface. This photograph is in generally excellent condition. As is common with Atget's prints, the image is trimmed unevenly and a portion of the negative is visible at the upper and lower edges. There is very minor edgewear. Upon extremely close inspection, the following are visible: an abrasion with pinpoint losses of emulsion at the right edge; two one-1/2-inch matte-areas perpendicular to the right edge and a few smaller matte deposits in the upper right quadrant; and a few small creases that do not appear to break the emulsion. None of the aforementioned detracts in any meaningful way from the overall attractive appearance of this excellent print. The reverse is slightly age-darkened along the edges. 'Nymphaea' and '700' are written by the photographer in pencil. 'Dupl MATTED' and 'MOMA DUPE [illegible] 2002' are written in an unidentified hand in pencil. In 'The Work of Atget. Volume III: The Ancien Regime,' Maria Morris Hambourg has chronologically dated, in the form of an extensive chart, Atget's photographs by their series and negative numbers. The chart is the most comprehensive to date, and our dating of this print is based upon the author's assessment of the photographer's series and negative numbers. The negative number on this print '700' indicates that this image was taken circa 1910 (cf. 'The Work of Atget. Volume III: The Ancien Regime,' pp. 181-85).
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.

The photographs in lots 131 - 139 come from the collection of Wagner Thielens. Thielens's passions included the arts, curating his many collections in his Wilton, Connecticut and New York City homes (including Picasso ceramics, sold in these rooms 27 April 2017) and supporting medical research.  He was a Lecturer in Sociology at Teacher’s College for many years, finally retiring in the early 1990s.  He served on the board of the Westervelt Company, founded by his mother’s family, for many years before retiring in 2011.  In 1962 he established The Helene Foundation, in his mother’s name, to support the arts and medical research.