Maud Morgan

This work is in very good condition overall. There are a few scattered unobtrusive surface accretions and a few scattered minor pinpoint pigment losses throughout. There is minor wear, handling marks and minor losses to the pigment of the artist's frame. Under Ultraviolet light inspection there is no evidence of restoration. Framed in artist's frame.
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.

“Maud Morgan exhibited alongside Jackson Pollock and Mark Rothko, two giants of Abstract Expressionism. She mentored Frank Stella, buying one of his first paintings when he was 18. But her own brilliant career went largely unsung during her lifetime. [When in] New York, Morgan exhibited some of her paintings in 1938. This was the heyday of Abstract Expressionism and Morgan was represented by Betty Parsons, the legendary dealer who championed Pollock and Rothko. The Metropolitan Museum of Art and the Whitney bought paintings from her show. Just as Morgan's career was blooming, she moved to Boston, where her husband had accepted a teaching job. Removed from the all-important New York art orbit, she was a woman painter working in a Boston suburb, circumstances that severely undermined her chances for serious recognition.” Elaine Woo, "Maud Morgan; Eclectic Artist", Los Angeles Times, 17 March 1999