In the winter of 1928, Weston had worked with arrangements of whole cabbages. Two years later, he complimented Sonya [Noskowiak] on a negative she had made of a halved cabbage. He was enthusiastic about it and said he would gladly sign it as his own. Six months later he, himself, was again working with cabbage: "Then yesterday was another important event--the start with halved and quartered red cabbage: for months in mind to do. I put on the Zeiss, stretched out on the bellows, entirely filled the plate with the center, not showing the outer form,--curve of cabbage, and in brilliant sun, made five negatives, changing the pattern by slicing off a thin layer each time, which also gave me a fresh surface. Whether I do more or not, these will go at once into my printing file for N.Y. show. They are extraordinary, significant,--more than a cabbage." Weston duplicated the photographs he was exhibiting at the Delphic in New York in a show, also in October 1930, at the Denny-Watrous Gallery in Carmel. A local reviewer was enthralled by these two [cabbage] images: "Cut a cabbage in two, catch its beauty by the light through the lens and we remember the fantastic fairy pattern in a marble column in the Mormon Temple." However, within three months of the publication of this image in "Coronet," due to the efforts of the Black Star Photo Agency, "Coronet" published another Halved Cabbage, attributed to a Weston impostor named Westelin from Chicago. Westelin's was theatrically backlit and was clearly a parody of Weston's image. Not only did he know Weston's vegetable still lifes, which "Coronet" was publishing, but other work also. Since he kept this up for about six months, clearly it was done with the complicity of the editors of the magazine. Queried about this, Charis [Weston] said that the prints were always ruined and that Weston was disgusted by the fuzzy reproductions [Amy Conger, "Edward Weston: Photographs," catalog # 613].