Purchase, The Horace W. Goldsmith Foundation Gift, through Joyce and Robert Menschel, 1990
Not on view
This straightforward study by Atget of his own work room offers a rare glimpse of the inner sanctum of an auteur éditeur, as he described his profession. On the table are the wooden frames the photographer used to contact print his glass negatives; at right are several bins of negatives stacked vertically; below the table are his chemical trays; on the shelves above are stacks of paper albums—a shelf label reads escaliers et grilles (staircases and grills). Atget used these homemade albums to organize his vast picture collection from which he sold views of old Paris to clients.
Inscription: Stamped in ink on mount, verso UC: "PHOTO E. ATGET//COLLECTION BERENICE ABBOTT//1 W. 67th ST.//COPYRIGHT"; inscribed in pencil on print, verso UC: "Interior 251", C: "Atget's Workroom[underlined]", LC: "(Cg Inv. 1976-6)"
Carlton Gallery, Philadelphia
The Metropolitan Museum of Art, Jeff L. Rosenheim. "Paris as Muse: Photography, 1840s – 1930s," January 27, 2014–May 4, 2014.
For variant (other side of Atget's Workroom) see: Nesbit, Margaret, and Françoise Reynaud. Eugène Atget; Intérieurs Parisiens, Photographies. Paris; Musée Carnavalet, 1982, p.33; for related information see: The Work of Atget, Volume II, The Art of Old Paris. New York: (MoMA), 1982, pp.19-22