Minor White

annotated 'Seq 15 William LaRue's hand' and dated in pencil and with the photographer's '72 North Union St., Rochester 7, N. Y.' studio stamp on the reverse, framed, Buhl Collection and Guggenheim Museum exhibition labels on the reverse, 1960

Howard Greenberg Gallery, New York, 1995

New York, Guggenheim Museum, Speaking with Hands: Photographs from The Buhl Collection, June - September 2004, and 4 other international venues through 2007 (see Appendix 1)

Jennifer Blessing, Speaking with Hands: Photographs from The Buhl Collection (Guggenheim Foundation, 2004), pp. 65 and 254 (this print)

This photograph, on double-weight paper with a surface sheen, is in generally excellent condition. In high raking light, 2 small surface scratches that appear to break the emulsion intermittently are visible in the lower right corner. The margin edges are rubbed, resulting in losses of the glossy top layer of emulsion at the periphery. On the reverse of the print, there are 2 light-rust-colored fingerprints.
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 young teacher William LaRue met Minor White in 1959 and went on to become his principle model.  The notation on the reverse of the photograph, ‘Seq 15,’ indicates that the image was included in one of several versions of White’s Sequence 15, a series of subtly interrelated images comprising studies of LaRue, the landscape, and other photographs characteristic of White’s transcendental approach to photography.