G.H. (GATJA) ROTHE. Power Play, Mezzotint, 1984, 36" x 24" (framed size: 50-1/2" x 38-1/2") numbered lower left in pencil: 37/200; titled in pencil bottom center: Power Play, hand signed in pencil lower right: G.H. Rothe. Gallery framed in a wood frame with black mat and plexi-glass. There is a pouch on the back which had paperwork at one time which has been removed. This frame is a custom gallery frame which appears on some of the other prints of Power Play that I've seen listed for sale. Doubletake Gallery has this print's retail listed at $7800.00. However, some dealers price it higher yet! Condition: A few frame nicks, possibly has a few plexi-glass scrathes, light browning in margins, hard to notice in person.
Biography from Askart as provided by Weston gallery
Photographer Edward Weston met Gatja Rothe in 1970 in New York City, shortly after her arrival. He was very taken with her art imagery and especially with her technique of Mezzotint. "Rothe had her presses in her 2nd Avenue apartment on the 5th floor where she tooled the copper plates, inked them, and pulled them. Each mezzotint an original unto itself - no two alike as to colors! Edward and Gatja disagreed many times until 3-4 am on the images. Commuting between Long Island and New York City was difficult for Edward but necessary to keep Gatja on track with salable images and subject matter - many times falling asleep on the swinging couch in the studio. But artists have a way of give and take and they stand their ground on subject matter true to their heart including "skeletonizing" the figures, which Weston tried to get Gatja to tone down.
Some subjects were limited in sales appeal but Rothe and Weston published them and advertised for three straight years on the back, with full-page cover, of Art News. This is the first time that a major magazine or art dealer ran the same artist month after month - another first for Edward Weston Collection.
Gatja and Edward's relationship was very tight. On Weston's birthday she surprised him by contacting the printer of a brochure and placed a picture of Weston and his new born colt "Equus" on the back of the brochure. It was the best gift ever!
The Mezzotint technique was new to most art dealers in those days and Weston had an educational chore nationally with galleries and people in most cities. Weston began an intense program of advertising and marketing for this one single artist. This avid promotion caught the attention of a number of important publishers who romanced G. H. Rothe to leave Weston and to go with them. Gatja was loyal to a point. She finished the editions in work and then broke the news to Edward one night in the studio advising him that Dr. Maury Liebowitz of Hammer Galleries had made her such a fantastic offer, and "would Weston let her out of her commitment for additional editions?" Hammer had offered her a show in the 57th Street Gallery as well. How does one not bless the arrangement? Gatja was very grateful at the time and showered Weston with originals and other items.
Along with the fantastic offer and the show at the gallery, Hammer published the Catalogue Raisonne Editions and featured Rothe with LeRoy Neiman. The demand for her works became phenomenal. She was a master of the mezzotint.
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