LOT DETAILS

Materials:

oil and lacquer with thumbtacks on paper

Size Notes:

22 x 30

Description:

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Markings:

signed de Kooning(upper right)

Exhibited:

New York, Wildenstein Gallery, XXth Century American Paintings, 1952, no. 39; Boston, School of the Museum of Fine Arts,De Kooning: 1935-1953, 1953, no. 12; Ithaca, Andrew Dickson White Museum of Art, Contemporary Painting and Sculpture from the Collection of Mr. and Mrs. David M. Solinger, 1956, no. 11; New York, Museum of Modern Art; Amsterdam, Stedelijk Museum;London, Tate Gallery; Chicago, Art Institute of Chicago; Los Angeles County Museum of Art,Willem de Kooning, 1968-69, no. 41, p. 162; p. 69, illustrated; Pittsburgh, Carnegie Institute Museum of Art, Pittsburgh International Series: Willem de Kooning, 1979-80, no. 19, p. 50, illustrated; New York, The Metropolitan Museum of Art, Willem de Kooning: Paintings, 1994-95; Ithaca, Cornell University, Herbert F. Johnson Museum of Art, The David M. Solinger Collection: Masterworks of Twentieth Century Art, 2002-03, pp. 34-35,illustrated; New York, Museum of Modern Art, de Kooning: a Retrospective, 2011-12, no. 68, pp. 211-212, illustrated in color; London, Royal Academy of Arts; Guggenheim Museum Bilbao,Abstract Expressionism, 2016-17, no. 143, p. 44;p. 291, illustrated in color (London), no. 113, p. 253, illustrated in color (Bilbao)

Literature:

Thomas B. Hess, Abstract Painting: Background and American Phase, New York, 1951, p. 159; p. 7, illustrated in color; Harriet Janis and Rudi Blesh, Collage: Personalities, Concepts, and Techniques,Toronto, 1967, no. 315, p. 222,illustrated; Gabriella Drudi, Willem de Kooning, Milan, 1972, no. 67, p. 34; p. 67, illustrated in color; Willem de Kooning and Harold Rosenberg, Willem de Kooning, New York, 1974, no. 85, p. 8; p. 150, illustrated in color; John Russell, Two Artists Share the Carnegie International,??The New York Times, 18 November 1979, p. 40; William C. Seitz, Abstract Expressionist Painting in America, Washington, D.C., 1983,no. 31, pp. 20, 34, 47, 147 p. 77; n.p., illustrated in color; Sally Yard, Willem de Kooning, the First Twenty-six Years in New York, Ph.D. Dissertation, Princeton University, 1986, no. 223, p. 171; p. 172, illustrated; Florian Rodari, Collage: Painted, Cut & Torn Papers, Geneva, 1988, p. 134; p. 133, illustrated in color; Charles Brock, Describing Chaos: Willem de Koonings Collage Painting Asheville and its Relationship to Traditions of Description and Illusionism in Western Art, Masters of Arts thesis, University of Maryland, College Park, 1993, no. 21, pp. v, 31, 34-36; p. 99,illustrated; Sally Yard, Willem de Kooning, New York, 1997, no. 37, p. 50; p. 51, illustrated in color; T.J. Clark, In Defense of Abstract Expressionism,?? in Rosalind Krauss, ed.,October: The Second Decade, 1986-1996, Cambridge, 1997, p. 55,illustrated; David Anfam, De Kooning, Bosch, and Bruegel: Some Fundamental Themes,?? The Burlington Magazine, vol. 145, no. 1207, London, 2003, p. 711; Sally Yard, Willem de Kooning, Works, Writings and Interviews,Barcelona, 2007, p. 47; p. 55, illustrated in color; Daniel Louis Haxall, Cut and Paste Abstraction: Politics, Form, and Identity in Abstract Expressionist Collage, Ph.D. dissertation, The Pennsylvania State University, 2009, pp. 47-48; Valerie Hellstein, Process and Memory in Women Singing II,?? Tate Research Publication, online, 2017, illustrated in color; Simonetta Fraquelli,Soutine / de Kooning: Conversations in Paint,Philadelphia, 2021, p. 89,illustrated in color

Provenance:

Sidney Janis Gallery, New York; Acquired from the above in April 1952 by the present owner