Eugène Atget, ‘Nymphéa’, circa 1910, Sotheby's

Property from the Estate of Wagner Thielens, New York

Titled 'Nymphaea' and numbered '700' in pencil on the reverse, framed.

From 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.
—Courtesy of Sotheby's

For other Atget views of this subject, see
John Szarkowski, Atget (New York, 2000), pp. 100-1

Collection of Berenice Abbott / Julien Levy, 1968
The Museum of Modern Art, New York, 2002

About Eugène Atget

Thanks to Berenice Abbott, Eugène Atget is posthumously recognized as one of the foremost early modern photographers, whose work serves as a sensitively observed record of Old Paris, its citizens and environs. His lifespan corresponded with Georges-Eugène Haussmann’s famously wholesale transformation of Paris into a modern city. Working both on commission and in response to public interest, he took up photography in the late 1880s, turning his camera on the as-yet unchanged sections of Paris in 1898. He captured streetscapes, shop fronts, and architectural details in a straight, documentary style, against the then-dominant Pictorialist trend. Until his final years, he aimed to make documents, not art. By the early 1920s, and until his death, Atget changed his focus and mood. His late works are expressive and metaphorical, and were championed by the Surrealists for their poetic, uncanny, and haunting air.

French, 1857-1927, Libourne, France, based in Paris, France