Oil on canvas  

39 x 25⅝ inches / 99 x 65 cm

Signed and dated lower right:  G VALMIER 1924

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Léonce Rosenberg (Galerie de L'Effort Moderne), Paris (probably)

Private collection, New York

Sotheby's New York, 3 November 2010, lot 107 (consigned by the above)

Acquired at the above sale by the previous owner

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Denise Bazetoux, Georges Valmier Catalogue raisonné, Paris, 1993, no.86, p.59, illustrated

Watercolour, wax crayon and pencil on paper

19 ⅞ x 25 ⅜ inches/50.6 x 64.5 cm

Signed lower right:  Miró; signed again, inscribed and dated in the margin, lower left: fraternellement Miro. Juin 1956  

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Petimento, San Francisco

Galerie de l’Ile de France, Paris

Anonymous sale, Christie’s, New York, 16 November 1983, lot 231

Private collection, Japan, by 1990, and thence by descent

Acquired from the above by the previous owner

Oil on canvas with wood  

43¾ x 33¾ inches / 111 x 85.8 cm  
Signed lower right: Adler  

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Naftali Bezem, Tel Aviv

Ulrich Krempel, Städtische Kunsthalle, Düsseldorf, Jankel Adler, 1895-1946, 1 Nov – 8 Dec 1985, no. 87 (illustrated in colour) this exhibition travelled to Tel Aviv, Tel Aviv Museum, 23 Dec 1985 – 11 Feb 86, p.117, no. 68 (illustrated); Łódź, Museum Sztuki w Łodzi, 28 Feb – 13 Apr 1986

Oil on canvas

120 x 100 cm/47¼ x 39⅜ inches

Signed and dated verso: M K 1988

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Private collection, USA

Galería Juana de Aízpuru, Madrid

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Madrid, Galería Juana de Aízpuru, Pinturas recientes, 1989

Capitain, Gisela (ed.), Fiorito, Regina (ed.), Franzen, Lisa (ed.), Martin Kippenberger, Catalogue Raisonné of the Paintings, Volume Three 1987-1992, Cologne, Galerie Gisela Capitain for the Estate of Martin Kippenberger, 2016, no. MK.P 1988.16, illustrated p.138

Oil on canvas

48 x 36 inches / 121.9 x 91.4cm

Signed and dated lower right: Hans Hofmann 50

Estate of the Artist

André Emmerich Gallery, New York

Acquired from the above by the previous owner in 1987

New York, André Emmerich Gallery, Hans Hofmann, December 1987 – January 1988, pl. 3 (illustrated)

W. Seitz, Abstract Expressionist Painting in America, Cambridge, 1983, no. 136 (illustrated)

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Gouache and ink on paper

22½ x 30⅞ inches/57.3 x 78.3 cm

Signed and dated lower right: Calder ‘44

Private Collection, Switzerland

Galerie Beyeler, Basel (acquired from the above in 1970)

Crane Kalman Gallery, London

Private Collection, London (acquired from the above in 1974)

Thence by decent to the previous owner

Basel, Galerie Beyeler, Miró/Calder, December 1972 – February 1973, no. 44, p.76

Oil on canvas

48 x 35⅞ inches / 121.9 x 91.4 cm

Signed and dated lower right: RD 49

The estate of Richard Diebenkorn, 1993

Lawrence Rubin Greenberg Van Doren Fine Art, New York

Acquired from the above by the previous owner, 2001

New York, Lawrence Rubin Greenberg Van Doren Fine Art, Richard Diebenkorn: Early Abstractions, 1949 – 1955, November – December 2000, n.p., pl. I (illustrated)

V. Katz, “Richard Diebenkorn at Lawrence Greenberg Van Doren,” Art in America, March 2001, p. 132

J. Livingston and A. Liguori, eds. Richard Diebenkorn: The Catalogue Raisonné, v. II, New Haven, 2016, p. 210, no. 669 (illustrated)

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This work is catalogued in the Richard Diebenkorn Foundation as number (RD 1053)

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Oil and sand on canvas

39 x 27 inches / 99.1 x 68.6 cm

Signed Motherwell and dated '44 (lower right); titled and dated Dec 44 (verso)

Private Collection (acquired directly from the artist circa 1944)

Kootz Gallery, New York (acquired from the above in 1946)

Mr. and Mrs. John Murray Cuddihy, New York (acquired from the above in 1954)

Marisa Del Re Gallery, New York (acquired from the above c.1982)

Acquired from the above in April 1985 by Phyllis & Jerome Lyle Rappaport

New York, Samuel M. Kootz Gallery, Robert Motherwell: Paintings, Collages, Drawings, January 1946, no. 6

New York, Museum of Modern Art; Poughkeepsie, Vassar College; Palm Beach, Society of the Four Arts; Cincinnati Modern Art Society; San Francisco Museum of Art; Baton Rouge, Louisiana State University and Bloomington, Indiana University Art Center Museum, September 1946 - June 1947, no. 61, p. 37, illustrated

Stamford Museum & Nature Center, Abstract Expressionism Lives!, September - November 1982, p. 21 illustrated

New York, Marisa del Re Gallery, Seven Abstract Masters, November - December 1982

Henry McBride, "Attractions in the Galleries," New York Sun, 12 January 1946, p. 9

Ben Wolf, "Difficult Origins," Art Digest, vol. 20, no. 8, 15 January 1946, p. 17

Eugene C. Goossen, "Robert Motherwell and the Seriousness of Subject," Art International, vol. 3, nos. 1-2, January - February 1959, p. 34, illustrated

Russell J. Jinishian, "Not 'pretty' nor Recognizable, but Strong, Personal, Alive!" Bridgeport Post, 31 October 1982, sec. C, p. 9

Vivian Raynor, "Milton Avery: Paintings on Paper at the Whitney," New York Times, 10 October 1982, sec. 23, p. 26

Bailey Van Hook, "Robert Motherwell's Mallarme's Swan," Arts Magazine, vol. 57, no.5, January 1983, pp. 104-105, illustrated

Mary Ann Caws, Robert Motherwell: With Pen and Brush, London, 2003, p. 20, illustrated

Jack Flam, Katy Rogers and Tim Clifford, eds., Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941-1991, Vol. II, New Haven, 2012, no. P15, p. 15, illustrated in colour

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Acrylic and oil stick on canvas

39⅜ x 31½ inches / 100 x 80 cm

The artist