Huguette Caland

Tate St Ives (St Ives, UK) from 24 May 2019 until 01 Sep 2019.

Huguette Caland
(born 1931, born: Beirut)

Huguette Caland, Untitled, 1978

X76880
Untitled

1978
painting
Oil paint on linen
object: 495 x 984 mm
Courtesy of private collection, New York
Provenance:
Acquired from the artist, 2018
Nationality of artist: Lebanese

Natalia Goncharova

Tate Modern (London, UK) from 06 Jun 2019 until 08 Sep 2019.

Distaff, Vologada District, circa 1850-1900

X69000
Distaff, Vologada District

circa 1850-1900
sculpture
Oil paint on wood
overall: 920 x 220 x 510 mm
The State Russian Museum, St Petersburg
Provenance:
The maker;
...
Acquired by the State Russian Museum after the research expedition led by Nikandr Maltsev to the Vologda Provice in 1968.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: maker unknown
Identifying marks: None recorded
This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova, Igor Stravinsky, Léonide Massine, Mikhail Larionov and Léon Bakst, Ouchy, 1915, 1915

X76667
Natalia Goncharova, Igor Stravinsky, Léonide Massine, Mikhail Larionov and Léon Bakst, Ouchy, 1915

1915
on paper, print
Photograph, gelatin silver print on paper
overall: 167 x 225 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: maker unknown
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland. This work has a complete provenance for the period 1933-45.

Natalia Goncharova in San Sebastián, 1916, 1916

X76664
Natalia Goncharova in San Sebastián, 1916

1916
on paper, print
Photograph, gelatin silver print on paper
support: 135 x 85 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: maker unknown
Identifying marks: None recorded. Place of manufacture: San Sebastián, Spain. This work has a complete provenance for the period 1933-45.

Rehearsal of the ballet Liturgy, circa 1915, circa 1915

X76673
Rehearsal of the ballet Liturgy, circa 1915

circa 1915
on paper, print
Photograph, gelatin silver print on paper
overall: 150 x 230 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland. This work has a complete provenance for the period 1933-45.

A scene from Colonel W. de Basil's Ballet Russe de Monte Carlo production of the ballet Le Coq d'or, 1937, 1937

X76672
A scene from Colonel W. de Basil's Ballet Russe de Monte Carlo production of the ballet Le Coq d'or, 1937

1937
on paper, print
Photograph, gelatin silver print on paper
overall: 186 x 250 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: maker unknown
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

A scene from The Royal Ballet production of ballet The Firebird, 1954, 1954

X76671
A scene from The Royal Ballet production of ballet The Firebird, 1954

1954
on paper, print
Photograph, gelatin silver print on paper
overall: 143 x 195 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: maker unknown
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Hand towel border, Kostroma Province, Late 19th century

X72351
Hand towel border, Kostroma Province

Late 19th century
sculpture
Textile, embroidery
image: 380 x 340 mm
The State Russian Museum, St Petersburg
Provenance:
The maker;
...
The collection of the St Petersburg Artisinal Museum, until 1938;
From which received by the State Russian Museum.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: maker unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Textile printing woodblock, Late 19th century

X72352
Textile printing woodblock

Late 19th century
sculpture
Wood
object: 167 x 172 x 50 mm
The State Russian Museum, St Petersburg
Provenance:
The maker;
...
Acquired by the State Russian Museum after the research expedition to the Vologda Provice in 1968.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: maker unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Hand-printed textile, Late 19th century

X72353
Hand-printed textile

Late 19th century
sculpture

overall: 1050 x 670 mm
The State Russian Museum, St Petersburg
Provenance:
The maker;
...
The collection of the St Petersburg Artisinal Museum, until 1938;
From which received by the State Russian Museum.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: artist unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Blouse. Part of festive female costume. Epifansk district, Tula province., 19th century

X75735
Blouse. Part of festive female costume. Epifansk district, Tula province.

19th century
sculpture
Textile, lace, embroidery, beadwork
unconfirmed: 1570 x 1280 mm
The State Russian Museum, St Petersburg
Provenance:
The maker;

Acquired by the State Russian Museum through the Directorate of Exhbitions and Panoramas in 1954.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: maker unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Skirt. Part of festive female costume. Epifansk district, Tula province., 19th century

X75736
Skirt. Part of festive female costume. Epifansk district, Tula province.

19th century
sculpture
Textile, lace, embroidery, beadwork
unconfirmed: 840 x 650 mm
The State Russian Museum, St Petersburg
Provenance:
The maker;

Acquired by the State Russian Museum through the Directorate of Exhbitions and Panoramas in 1954.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: maker unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Vest. Part of festive female costume. Epifansk district, Tula province., 19th century

X75737
Vest. Part of festive female costume. Epifansk district, Tula province.

19th century
sculpture
Textile, lace, embroidery, beadwork
unconfirmed: 760 x 820 mm
The State Russian Museum, St Petersburg
Provenance:
The maker;

Acquired by the State Russian Museum through the Directorate of Exhbitions and Panoramas in 1954.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: maker unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Headscarf. Part of festive female costume. Epifansk district, Tula province., 19th century

X75738
Headscarf. Part of festive female costume. Epifansk district, Tula province.

19th century
sculpture

unconfirmed: 1050 x 1080 mm
The State Russian Museum, St Petersburg
Provenance:
The maker;

Acquired by the State Russian Museum through the Directorate of Exhbitions and Panoramas in 1954.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: maker unknown

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Anonymous

Anonymous, Our Lady of Jerusalem, after 1850

X75170
Our Lady of Jerusalem

after 1850
on paper, print
Lithograph on paper with hand-colouring
support: 442 x 354 mm plate: 370 x 305 mm frame: 690 x 540 mm
State Tretyakov Gallery, Moscow
Provenance:
The maker;

Collection of Mikhail Koniukov, until 1930;
From whom acquired by the State Tretyakov Gallery, Moscow.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: ?Russian (maker unknown)
Identifying marks: None recorded
Place of manufacture: Russia


This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Anonymous, Maiden on a beast ('A Horrible and Terrifying Morality Tale'), 1850–1900

X75169
Maiden on a beast ('A Horrible and Terrifying Morality Tale')

1850–1900
on paper, print
Lithograph on paper with hand-colouring
support: 533 x 426 mm frame: 690 x 540 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The maker
...
The collection of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian (maker unknown)
Identifying marks: None recorded. Place of manufacture: Russia.

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Anonymous, A Siren, 1850–1900

X75171
A Siren

1850–1900
on paper, print
Lithograph on paper with hand-colouring
support: 330 x 280 mm frame: 690 x 540 mm
State Tretyakov Gallery, Moscow
Provenance:
The artist;

Collection of the Moscow Institute of Technology and Philosophy 1933;
From whom acquired by the State Tretyakov Gallery, Moscow.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: ?Russian (maker unknown)
Identifying marks: None recorded
Place of manufacture: Russia

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Baron Photo Studios
(1954 - 1956)

Baron Photo Studios, A Scene from the ballet Les Noces, 1923, circa 1955

X76674
A Scene from the ballet Les Noces, 1923

circa 1955
on paper, print
Photograph, gelatin silver print on paper
overall: 280 x 355 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland.
This work has a complete provenance for the period 1933-45.

André Derain
(1880-1954, born: Chatou, died: Garches)

André Derain, Tree Trunks (Pine Grove), 1912-1913

X68997
Tree Trunks (Pine Grove)

1912-1913
painting
Oil paint on canvas
support: 920 x 730 mm
The State Pushkin Museum of Fine Arts, Moscow
Provenance:
The artist;

From whom acquired by D.-H.Kahnweiler, 1912;
From whom acquired by I. A. Morozov, until 1918;
From whom acquired by the Museum of New Western Art-2, until 1923;
From which transferred to the State Museum of New Western Art, until 1948;
From which transferred to The State Pushkin Museum of Fine Arts.

Lender's address: State Pushkin Museum of Fine Arts, 12 Volkhonka Street, Moscow 119019, Russia
Nationality of the artist: French
Identiyfing marks: None recorded
Place of manufacture: Martigues, France

This work has a complete provenance for the period 1933-45.

Natalia Goncharova
(1881-1962, born: Tula, died: Paris, active: Moscow, Paris)

Natalia Goncharova, Circus, 1907

X67176
Circus

1907
painting
Oil paint on canvas
support: 570 x 740 mm frame: 615 x 775 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Self-Portrait in a Period Costume, 1907-1908

X67180
Self-Portrait in a Period Costume

1907-1908
painting
Oil paint on canvas
support: 980 x 740 mm frame: 1020 x 785 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Mountain Ash: Panino near Vyazma, 1907-1908

X67196
Mountain Ash: Panino near Vyazma

1907-1908
painting
Oil paint on canvas
support: 994 x 690 mm frame: 1114 x 807 x 50 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist, Moscow, until 1913;
From whom acquired by the Council of the Tretyakov Gallery.


Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.

Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia.



This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Self-Portrait with Yellow Lilies, 1907-1908

X67198
Self-Portrait with Yellow Lilies

1907-1908
painting
Oil paint on canvas
support: 775 x 582 mm frame: 935 x 645 x 60 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist, Moscow, until 1927;
From whom acquired by the State Tretyakov Gallery.


Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia.



This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Hay Cutting, 1907-1908

X75758
Hay Cutting

1907-1908
painting
Oil paint on canvas
support: 980 x 1180 mm
Collection Krystyna Gmurzynska
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov;
Thence by descent to Alexandra Larionov-Tomilina, in 1964;
From whom acquired by the present owner.

Lender’s address: private collection c/o Matthew Gale, Head of Displays, Tate Modern.
Nationality of the artist: Russian; naturalised French in 1938
Identifying marks: Inscribed on the reverse ‘N.C. Goncharova / Mower [in Russian] / M. H. P. S. I. [Moscow Repository of works of Modern Art] No. 1219 [in Russian]
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Orchard in Autumn, 1909

X67175
Orchard in Autumn

1909
painting
Oil paint on canvas
support: 718 x 1033 mm frame: 794 x 1087 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist;
Collection of Ivan Morozov, until 1917;
The State Museum Fund, until 1929;
From which acquired by the State Tretyakov Gallery.


Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian; naturalised French in 1938.
Identifying marks: none recorded
Place of manufacture: Moscow, Russia


This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Bunch of Flowers and a Bottle of Paints, 1909

X67197
Bunch of Flowers and a Bottle of Paints

1909
painting
Oil paint on canvas
support: 1010 x 715 mm frame: 1090 x 775 x 60 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist, Moscow, until 1913;
From whom acquired by the Council of the Tretyakov Gallery.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Autumn: A Park, 1909

X67199
Autumn: A Park

1909
painting
Oil paint on canvas
support: 793 x 1166 mm frame: 830 x 1205 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist, Moscow;
From whom acquired by N.F. Nesrakov, until 1918;
From whom acquired by the State Tretyakov Gallery.


Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia.

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Wrestlers, 1908-1909

X69027
Wrestlers

1908-1909
painting
Oil paint on canvas
support: 1000 x 1220 mm
The State Russian Museum, St Petersburg
Provenance:
The studio of the artist;
From whom acquired by the Museum of Artistic Culture, Leningrad, until 1926;
From which received by the State Russian Museum.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: in Cyrillic
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Washing the Canvases, 1910

X67182
Washing the Canvases

1910
painting
Oil paint on canvas
support: 1060 x 1180 mm frame: 1120 x 1242 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist, Moscow;
From whom acquired by the Museum of Painterly Culture, until 1927;
Transferred to the State Tretyakov Gallery, Moscow.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia.


This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Peasant Woman from Tula Province, 1910

X67183
Peasant Woman from Tula Province

1910
painting
Oil paint on canvas
support: 1035 x 730 mm frame: 1155 x 855 x 50 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Parrots, 1910

X67205
Parrots

1910
painting
Oil paint on canvas
support: 990 x 1043 mm frame: 1090 x 1140 x 50 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, A Model (Against a Blue Background), 1909-1910

X67218
A Model (Against a Blue Background)

1909-1910
painting
Oil paint on canvas
support: 1110 x 870 mm frame: 1165 x 872 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia.
This work has a complete provenance for the period 1933-45.

Natalia Goncharova, The Deity of Fertility, 1909-1910

X67219
The Deity of Fertility

1909-1910
painting
Oil paint on canvas
support: 705 x 575 mm frame: 813 x 662 x 65 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Elder with Seven Stars (Apocalypse), 1910

X67253
Elder with Seven Stars (Apocalypse)

1910
painting
Oil paint on canvas
support: 1470 x 1885 mm frame: 1565 x 1982 x 60 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Round Dance, 1910

X69019
Round Dance

1910
painting
Oil paint on canvas
support: 1000 x 1330 mm
Serpukhov History and Art Museum
Provenance:
The studio of the artist, until 1919;
From whom acquired by the State Museum Fund, until 1924;
From which received by the Serpukhov History and Art Museum, Serpukhov.

Lender's address: Serpukhov History and Art Museum, Chekhova Street, 87, Serpukhov, Moskovskaya oblast, Russian Federation 142206
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Peasants Picking Apples, 1911

X67174
Peasants Picking Apples

1911
painting
Oil paint on canvas
support: 1045 x 980 mm frame: 1115 x 1045 x 60 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist;
Collection of Ivan Morozov, Moscow, until 1917;
The Museum of Artistic Culture, Moscow, until 1929;
From which acquired by the State Tretyakov Gallery, Moscow.


Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian; naturalised French in 1938.
Identifying marks: none recorded
Place of manufacture: Moscow, Russia


This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Peacock (in the Style of Russian Embroidery), 1911

X67181
Peacock (in the Style of Russian Embroidery)

1911
painting
Oil paint on canvas
support: 1303 x 1450 mm frame: 1337 x 1486 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Winter: Gathering Firewood, 1911

X67203
Winter: Gathering Firewood

1911
painting
Oil paint on canvas
support: 1335 x 1045 mm frame: 1397 x 1107 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist, Moscow;
From whom acquired by the Museum of Painterly Culture, until 1929;
Transferred to the State Tretyakov Gallery, Moscow.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia.

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova, A Smoker (in the Style of a Tray-Painting), 1911

X67204
A Smoker (in the Style of a Tray-Painting)

1911
painting
Oil paint on canvas
object: 1000 x 810 mm frame: 1032 x 842 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia.
This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Harvest: A Prophet, 1911

X67210
Harvest: A Prophet

1911
painting
Oil paint on canvas
support: 1660 x 920 mm frame: 1720 x 980 x 60 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Harvest: The Phoenix, 1911

X67211
Harvest: The Phoenix

1911
painting
Oil paint on canvas
support: 920 x 975 mm frame: 965 x 1025 x 60 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia.
This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Harvest: Angels Throwing Stones on the City, 1911

X67212
Harvest: Angels Throwing Stones on the City

1911
painting
Oil paint on canvas
support: 1000 x 1290 mm frame: 1067 x 1365 x 60 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Harvest: Harvest, 1911

X67214
Harvest: Harvest

1911
painting
Oil paint on canvas
support: 1000 x 930 mm
Omsk Regional Museum of Fine Arts named after M.A. Vrubel
Provenance:
The studio of the artist;
The Museum of Painterly Culture, Moscow, until 1928;
From which transferred to the State Treytakov Gallery, until 1932;
From which received by The M.A. Vrubel Omsk Regional Museum of Fine Arts.

Lender's address: The M.A. Vrubel Omsk Regional Museum of Fine Arts, 23 Lenina Street, Omsk 644024, Russia
Nationality of the artist: Russian; naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Harvest: Maiden on the Beast, 1911

X67215
Harvest: Maiden on the Beast

1911
painting
Oil paint on canvas
support: 1670 x 1285 mm
Kostroma State Historical-Architectural and Art Museum-Reserve
Provenance:
The studio of the artist, until 1920;
The Museum of Painterly Culture, Kostroma, until 1922;
From which acquired by The Kostroma State Historical, Architectural and Arts Museum Reserve.

Lender's address: The Kostroma State Historical, Architectural and Arts Museum Reserve, Prospect Mira, 7, Kostroma, Russia
156000
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Nude Black Woman, 1911

X67220
Nude Black Woman

1911
painting
Oil paint on canvas
support: 1080 x 960 mm frame: 1105 x 995 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Mother of God: The Ornament. Flowers, 1911

X67223
Mother of God: The Ornament. Flowers

1911
painting
Oil paint on canvas
support: 995 x 1035 mm frame: 1026 x 1065 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Mother of God: Mother of God, 1911

X67224
Mother of God: Mother of God

1911
painting
Oil paint on canvas
support: 980 x 890 mm frame: 1023 x 937 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Mother of God: The Ornament. Flowers, 1911

X67225
Mother of God: The Ornament. Flowers

1911
painting
Oil paint on canvas
support: 980 x 1045 mm frame: 1040 x 1080 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Christ the Saviour: Archangel (in Green), 1910-1911

X67250
Christ the Saviour: Archangel (in Green)

1910-1911
painting
Oil paint on canvas
support: 1320 x 695 mm frame: 1360 x 727 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Christ the Saviour: Christ the Saviour (with Grapevines), 1910-1911

X67251
Christ the Saviour: Christ the Saviour (with Grapevines)

1910-1911
painting
Oil paint on canvas
support: 1325 x 1195 mm frame: 1360 x 1220 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Christ the Saviour: Archangel (in White), 1910-1911

X67252
Christ the Saviour: Archangel (in White)

1910-1911
painting
Oil paint on canvas
support: 1320 x 695 mm frame: 1360 x 727 x 4 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Frost, 1910-1911

X69022
Frost

1910-1911
painting
Oil paint on canvas
support: 1010 x 1320 mm
The State Russian Museum, St Petersburg
Provenance:
The studio of the artist;
From whom acquired by the Museum of Artistic Culture, Leningrad, until 1926;
From which received by the State Russian Museum.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Portrait of Mikhail Larionov and His Platoon Commander, 1911

X69029
Portrait of Mikhail Larionov and His Platoon Commander

1911
painting
Oil paint on canvas
support: 1170 x 970 mm
The State Russian Museum, St Petersburg
Provenance:
The studio of the artist;
From whom acquired by the Museum of Artistic Culture, Leningrad, until 1926;
From which received by the State Russian Museum.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: [in Cyrillic]
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, The Evangelists [Grey], 1911

X69034
The Evangelists [Grey]

1911
painting
Oil paint on canvas
support: 2040 x 580 mm
The State Russian Museum, St Petersburg. Gift of A.K. Larionova-Tomilina, Paris 1966
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Donated by the above the State Russian Museum in 1966.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, The Evangelists [Green], 1911

X69035
The Evangelists [Green]

1911
painting
Oil paint on canvas
support: 2040 x 580 mm
The State Russian Museum, St Petersburg. Gift of A.K. Larionova-Tomilina, Paris 1966
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Donated by the above the State Russian Museum in 1966.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, The Evangelists [Purple], 1911

X69036
The Evangelists [Purple]

1911
painting
Oil paint on canvas
support: 2040 x 580 mm
The State Russian Museum, St Petersburg. Gift of A.K. Larionova-Tomilina, Paris 1966
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Donated by the above the State Russian Museum in 1966.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, The Evangelists [Blue], 1911

X69037
The Evangelists [Blue]

1911
painting
Oil paint on canvas
support: 2040 x 580 mm
The State Russian Museum, St Petersburg. Gift of A.K. Larionova-Tomilina, Paris 1966
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Donated by the above the State Russian Museum in 1966.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Jews on a Street (A Jewish Shop), 1912

X67206
Jews on a Street (A Jewish Shop)

1912
painting
Oil paint on canvas
support: 1590 x 1360 mm frame: 1670 x 1430 x 60 mm
State Tretyakov Gallery, Moscow. Presented by A.K. Larionova-Tomilina, Paris 1968
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Donated by the above the State Tretyakov Gallery in 1968.


Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia.

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Factory (Futurist), 1912

X69038
Factory (Futurist)

1912
painting
Oil paint on canvas
support: 1025 x 800 mm (TBC)
The State Russian Museum, St Petersburg
Provenance:
The studio of the artist;
From whom acquired by the Museum of Artistic Culture, Leningrad, until 1926;
From which received by the State Russian Museum.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Dress design for Nadezhda Lamanova fashion house, 1912-1913

X67186
Dress design for Nadezhda Lamanova fashion house

1912-1913
on paper, unique
Graphite and gouache on paper
support: 380 x 240 mm frame: 640 x 450 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia.
This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Dress design for Nadezhda Lamanova fashion house, 1912-1913

X67187
Dress design for Nadezhda Lamanova fashion house

1912-1913
on paper, unique
Graphite and gouache on paper
object: 382 x 243 mm frame: 640 x 450 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia.
This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Dress design for Nadezhda Lamanova fashion house, 1912-1913

X67188
Dress design for Nadezhda Lamanova fashion house

1912-1913
on paper, unique
Graphite and gouache on paper
support: 382 x 243 mm frame: 640 x 450 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Textile design for Nadezhda Lamanova fashion house, 1912-1913

X67193
Textile design for Nadezhda Lamanova fashion house

1912-1913
on paper, unique
Gouache on paper
support: 240 x 380 mm frame: 640 x 450 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Textile design for Nadezhda Lamanova fashion house, 1912-1913

X67194
Textile design for Nadezhda Lamanova fashion house

1912-1913
on paper, unique
Gouache on paper
support: 240 x 380 mm frame: 640 x 450 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Void, 1913

X67268
Void

1913
painting
Oil paint and gouache on canvas
support: 800 x 1060 mm frame: 855 x 1115 x 60 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Cat on a Roof: Study for Konstantin Bolshakov's Le Futur, 1913

X67271
Cat on a Roof: Study for Konstantin Bolshakov's Le Futur

1913
on paper, unique
Graphite on paper
support: 203 x 160 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Sunset: Study for Konstantin Bolshakov's Le Futur, 1913

X67272
Sunset: Study for Konstantin Bolshakov's Le Futur

1913
on paper, unique
Graphite on paper
support: 203 x 160 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Forest: Study for Konstantin Bolshakov's Le Futur, 1913

X67273
Forest: Study for Konstantin Bolshakov's Le Futur

1913
on paper, unique
Graphite on paper
support: 210 x 160 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, The Universe: Study for Konstantin Bolshakov's Le Futur, 1913

X67274
The Universe: Study for Konstantin Bolshakov's Le Futur

1913
on paper, unique
Graphite on paper
support: 200 x 158 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Aeroplane Over a Train, 1913

X69041
Aeroplane Over a Train

1913
painting
Oil paint on canvas
support: 780 x 1050 mm
State Museum of Fine Arts of the Republic of Tatarstan, Kazan
Provenance:
The studio of the artist, until 1919;
State Museum Bureau, 1Z0 NKP, until 1920;
From which received by the State Museum of the Tatar Autonomous Soviet Socialist Republic, until 1962;
Which became the State Museum of the Tatar Soviet Republic, Kazan (State Museum of the Visual Arts of Tatarstan, Kazan) (Inv. Zh-1243)

Lender's address: The State Museum of Fine Arts of Tatarstan Republic, Marksa Street, 64, Kazan, The Republic of Tatarstan,
Russian Federation 420015
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded : inscribed on the reverse with the artist’s initials; other inscriptions obscured by stretcher
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Cyclist, 1913

X69042
Cyclist

1913
painting
Oil paint on canvas
support: 790 x 1050 mm
The State Russian Museum, St Petersburg
Provenance:
The studio of the artist;
From whom acquired by the Museum of Artistic Culture, Leningrad, until 1926;
From which received by the State Russian Museum.

Lender's address: The State Russian Museum, 4 Inzhenernaya ul., St. Petersburg 191011, Russia
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Orchids, 1913

X69049
Orchids

1913
painting
Oil paint on canvas
support: 930 x 710 mm
Nizhny Novgorod State Art Museum
Provenance:
The studio of the artist;
The Museum of Painterly Culture, Moscow, until 1921;
From which received by the Nizhny Novgorod State Art Museum, Nizhny Novgorod.

Lender's address: Nizhny Novgorod State Art Museum, Kremlin, korp. 3, Nizhny Novgorod, Russia 603082
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Letter, 1913

X69052
Letter

1913
painting
Oil paint on canvas
support: 430 x 550 mm
Serpukhov History and Art Museum. Received from the Moscow Regional Museum in 1924
Provenance:
The artist;
From whom acquired by the Moscow Regional Museum, until 1924;
From which acquired by Serpukhov History and Art Museum.

Lender's address: Serpukhov History and Art Museum, Chekhova Street, 87, Serpukhov, Moskovskaya oblast, Russian Federation 142206
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: on the reverse is a painting of a moonlit landscape, with wooden grave markers in the foreground.
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Saint Barbara from the New Russian Luboks series, 1912-1913

X76675
Saint Barbara from the New Russian Luboks series

1912-1913
on paper, unique
Watercolour and white wash on paper on card
support: 670 x 540 mm frame: 820 x 680 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist, until 1913;
From whom purchased by the Council of the Tretyakov Gallery.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded [could Tretyakov send an image of the reverse?]
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Mystical Images of War: Saint George, 1914

X67255
Mystical Images of War: Saint George

1914
on paper, print
Lithograph, gouache and ink on paper
support: 324 x 248 mm image: 304 x 226 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Mystical Images of War: Maiden on the Beast, 1914

X67259
Mystical Images of War: Maiden on the Beast

1914
on paper, print
Lithograph, gouache and ink on paper
support: 323 x 245 mm image: 325 x 245 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Electric Ornament, 1914

X67270
Electric Ornament

1914
painting
Oil paint on canvas
support: 905 x 770 mm frame: 985 x 832 x 60 mm
State Tretyakov Gallery, Moscow
Provenance:
The studio of the artist, Moscow;
From whom acquired by the Museum of Painterly Culture, until 1928;
Transferred to the State Tretyakov Gallery, Moscow.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded [could Tretyakov send an image of the reverse?]
Place of manufacture: Moscow, Russia.

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Peasants Gathering Grapes, 1913-1914

X69053
Peasants Gathering Grapes

1913-1914
painting
Oil paint on canvas
support: 1450 x 1300 mm
Bashkir State Art Museum named after M.V. Nesterov, Ufa
Provenance:
The studio of the artist, until 1919;
State Art Fund, Moscow, until 1920;
Museum Bureau of IZO NKP;
From which transferred to Bashkir State Art Museum, Ufa.

Lender’s address: Bashkir State Art Museum, Goglya Street, 27, Ufa, The Republic of Bashkortostan, Russian Federation, 450077
Nationality of the artist: Russian, naturalised French 1938
Identifying marks: None recorded
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Picking Apples, circa 1909

X75757
Picking Apples

circa 1909
painting
Oil paint on canvas
support: 889 x 1234 mm frame: 1500 x 1800 mm
Alex Lachmann collection
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, until 1962*;
Private collection, United States, until 2007;
When sold at Christie’s London, Impressionist and Modern Art sale, 18 June 2007 (lot 19);
From which acquired by the present owner.
*exhibited as part of the artists' Arts Council UK touring exhibition in 1961.

Lender’s address: private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: Russian; naturalised French in 1938
Identifying marks: signed ‘N.g.’ (upper left)
Place of manufacture: Moscow, Russia

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Apostle Peter. Costume design for Liturgy, 1915

X67308
Apostle Peter. Costume design for Liturgy

1915
on paper, unique
Gouache, graphite and paper on paper mounted on cardboard
support: 535 x 379 mm frame: 800 x 580 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Magus. Costume design for Liturgy, 1915

X67310
Magus. Costume design for Liturgy

1915
on paper, unique
Gouache, graphite and paper on paper mounted on cardboard
support: 600 x 475 mm frame: 800 x 580 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Cherub. Costume design for Liturgy, 1915

X67311
Cherub. Costume design for Liturgy

1915
on paper, unique
Gouache, graphite and paper on paper mounted on cardboard
support: 470 x 300 mm frame: 810 x 580 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Jellyfish. Costume design for Sadko, 1915-1916

X67315
Jellyfish. Costume design for Sadko

1915-1916
on paper, unique
Gouache and graphite on paper mounted on cardboard
support: 226 x 200 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Coral. Costume design for Sadko, 1915-1916

X67316
Coral. Costume design for Sadko

1915-1916
on paper, unique
Gouache and graphite on paper mounted on cardboard
support: 375 x 239 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Seaweed. Costume design for Sadko, 1915-1916

X67317
Seaweed. Costume design for Sadko

1915-1916
on paper, unique
Gouache, graphite, bronze and aluminium on paper mounted on cardboard
support: 223 x 198 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Composition with Factory Chimneys. Set design for Les Noces, 1916-1917

X67318
Composition with Factory Chimneys. Set design for Les Noces

1916-1917
on paper, unique
Gouache and graphite on paper mounted on cardboard
support: 560 x 788 mm frame: 750 x 950 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Lausanne, Switzerland. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Russian Woman, Late 1910s - early 1920s

X69057
Russian Woman

Late 1910s - early 1920s
painting
Oil paint on canvas
support: 2300 x 1180 mm
Musée d'Art Moderne de la Ville de Paris
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Donated by the above to Musée d’Art Moderne de la Ville de Paris in 1964.

Lender’s address: Musée d’Art Moderne de la Ville de Paris, 11 Avenue du Président Wilson, 75116, Paris, France.
Nationality of the artist: Russian; naturalised French in 1938.
Identifying marks: not recorded
Place of manufacture: ?Paris, France

This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Bathers, 1922

X67291
Bathers

1922
painting
Oil paint on canvas
support: 2600 x 1495 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Bathers, 1922

X67292
Bathers

1922
painting
Oil paint on canvas
support: 2600 x 1990 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Bathers, 1922

X67293
Bathers

1922
painting
Oil paint on canvas
support: 2600 x 1495 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Study for a mask for 1923 Grand Bal des artistes travesti transmental, 1923

X75167
Study for a mask for 1923 Grand Bal des artistes travesti transmental

1923
on paper, unique
Ink and graphite on paper
support: 370 x 285 mm frame: 490 x 380 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Study for a poster advertising Grand Bal de nuit, 1923

X75168
Study for a poster advertising Grand Bal de nuit

1923
on paper, unique
Gouache, ink and graphite on paper
support: 1570 x 1107 mm frame: 1600 x 1140 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Design for 'Caucasus' dress for House of Myrbor, 1922-1928

X67185
Design for 'Caucasus' dress for House of Myrbor

1922-1928
on paper, unique
Graphite and gouache on paper
object: 380 x 240 mm frame: 640 x 450 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia.
This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Design for 'Algae' coat for House of Myrbor, 1927-1928

X67300
Design for 'Algae' coat for House of Myrbor

1927-1928
on paper, unique
Gouache, graphite and aluminium on paper
support: 657 x 505 mm frame: 850 x 670 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Pattern with blue flowers. Study for textile design for House of Myrbor, 1925-1928

X67303
Pattern with blue flowers. Study for textile design for House of Myrbor

1925-1928
on paper, unique
Gouache and graphite on paper
support: 375 x 284 mm frame: 640 x 450 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Pattern with burgundy-coloured branches. Study for textile design for House of Myrbor, 1925-1928

X67306
Pattern with burgundy-coloured branches. Study for textile design for House of Myrbor

1925-1928
on paper, unique
Gouache, graphite and varnish on paper
support: 378 x 282 mm frame: 640 x 450 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Design with birds and flowers. Study for textile design for House of Myrbor, 1925-1928

X67307
Design with birds and flowers. Study for textile design for House of Myrbor

1925-1928
on paper, unique
Gouache and graphite on embossed paper
support: 745 x 670 mm frame: 875 x 760 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Textile design, 1922–1929

X67192
Textile design

1922–1929
on paper, unique
Gouache on paper
support: 405 x 323 mm frame: 640 x 450 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Moscow, Russia. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Spanish Woman with a Fan, 1925-1929

X67290
Spanish Woman with a Fan

1925-1929
painting
Oil paint on canvas
support: 1660 x 1240 mm frame: 1680 x 1256 x 40 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova, Dress pattern with moons and stars for House of Myrbor, 1920-1929

X72399
Dress pattern with moons and stars for House of Myrbor

1920-1929
on paper, unique
Gouche, gold paint, charcoal and paper on paper laid on cardboard
support: 1450 x 2380 mm frame: 1800 x 3000 mm
Private collection, France
Provenance:
The studio of the artist;
From whom acquired by Lucien Lefebvre-Foinet, Paris;
By descent to Josette Lefebvre;
From whom acquired by the present owner in 2008.

Lender’s address: private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: Russian; naturalised French in 1938
Identifying marks: inscribed in Cyrillic ‘I.I.’ and numbered ‘MLF098’ lower right.
Place of manufacture: Paris, France


This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova, Theatre costume for the Golden Cockerel in Le Coq d'Or, 1937

X69079
Theatre costume for the Golden Cockerel in Le Coq d'Or

1937
sculpture
Lamé, metallic knit thread, silk, silk knit, gilded leather, net
displayed: 1150 x 1400 x 870 mm
Los Angeles County Museum of Art, Costume Council Fund
Provenance:
The maker

Sotheby's London, 17 July 1968,
From which acquired by the Los Angeles County Museum of Art, with funds provided by the Costume Council.

Lender's address: Los Angeles County Museum of Art, 5905 Wilshire Blvd, Los Angeles, CA 90036, United States
Nationality of the artist: Russian; naturalised French in 1938
Identifying marks: none recorded
Place of manufacture: London, United Kingdom

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova, King Dodon. Costume design for Le Coq d'Or, 1937

X71730
King Dodon. Costume design for Le Coq d'Or

1937
on paper, unique
Watercolour, bronze paint and graphite on paper
support: 455 x 299 mm frame: 510 x 350 mm
State Tretyakov Gallery, Moscow. Presented by Evelyn Cournand 1983
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
From whom acquired by Evelyn Cournand, until 1983;
From whom gifted to the State Tretyakov Gallery, Moscow.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Paris, France.

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova, Peasant woman. Costume design for Le Coq d'Or, 1937

X71731
Peasant woman. Costume design for Le Coq d'Or

1937
on paper, unique
Watercolour, bronze paint and graphite on paper
support: 455 x 300 mm frame: 510 x 350 mm
State Tretyakov Gallery, Moscow. Presented by Evelyn Cournand 1983
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
From whom acquired by Evelyn Cournand, until 1983;
From whom gifted to the State Tretyakov Gallery, Moscow.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Paris, France.

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova, Shemakha Queen. Costume design for Le Coq d'Or, 1937

X71732
Shemakha Queen. Costume design for Le Coq d'Or

1937
on paper, unique
Watercolour, bronze paint and graphite on paper
support: 465 x 298 mm frame: 510 x 350 mm
State Tretyakov Gallery, Moscow. Presented by Evelyn Cournand 1983
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
From whom acquired by Evelyn Cournand, until 1983;
From whom gifted to the State Tretyakov Gallery, Moscow.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Paris, France.

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova, Bogatyr. Costume design for Le Coq d'Or, 1937

X72396
Bogatyr. Costume design for Le Coq d'Or

1937
on paper, unique
Watercolour, bronze paint and graphite on paper
support: 455 x 300 mm frame: 510 x 350 mm
State Tretyakov Gallery, Moscow. Presented by Evelyn Cournand 1983
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
From whom acquired by Evelyn Cournand, until 1983;
From whom gifted to the State Tretyakov Gallery, Moscow.

Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded
Place of manufacture: Paris, France.

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova, Ukrainan Village. Set design for The Fair at Sorochinsk, 1930s

X67319
Ukrainan Village. Set design for The Fair at Sorochinsk

1930s
on paper, unique
Gouache and graphite on paper mounted on cardboard
support: 655 x 980 mm frame: 830 x 1030 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Natalia Goncharova
(1881-1962, born: Tula, died: Paris, active: Moscow, Paris)
Barbara Karinska
(1886 - 1983)

Natalia Goncharova and Barbara Karinska, Theatre costume for a Female Subject of King Dodon in Le Coq d'Or, 1937

X69077
Theatre costume for a Female Subject of King Dodon in Le Coq d'Or

1937
sculpture
Cotton, linen, stencilled cotton, cotton braid, embroidered appliqués
displayed: 1651 x 1905 x 204 mm
Los Angeles County Museum of Art, Costume Council Fund
Provenance:
The studio of Barbara Karinska

Sotheby's London, 17 July 1968,
From which acquired by the Los Angeles County Museum of Art, with funds provided by the Costume Council.

Lender's address: Los Angeles County Museum of Art, 5905 Wilshire Blvd, Los Angeles, CA 90036, United States
Nationality of the artist: Russian; naturalised French in 1938
Identifying marks: none recorded
Place of manufacture: London, United Kingdom

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova and Barbara Karinska, Theatre costume for a Female Subject of King Dodon in Le Coq d'Or, 1937

X69078
Theatre costume for a Female Subject of King Dodon in Le Coq d'Or

1937
sculpture
Cotton, embroidered appliqués, cotton lace
displayed: 1651 x 1905 x 204 mm
Los Angeles County Museum of Art, Costume Council Fund
Provenance:
The studio of Barbara Karinska

Sotheby's London, 17 July 1968,
From which acquired by the Los Angeles County Museum of Art, with funds provided by the Costume Council.

Lender's address: Los Angeles County Museum of Art, 5905 Wilshire Blvd, Los Angeles, CA 90036, United States
Nationality of the artist: Russian; naturalised French in 1938
Identifying marks: none recorded
Place of manufacture: London, United Kingdom

This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Natalia Goncharova
(1881-1962, born: Tula, died: Paris, active: Moscow, Paris)
State Tretyakov Gallery (Moscow, Russia)

Natalia Goncharova and State Tretyakov Gallery (Moscow, Russia), Design for 'Myriame' dress for House of Myrbor, 1927-1928

X67299
Design for 'Myriame' dress for House of Myrbor

1927-1928
on paper, unique
Gouache, aluminium, bronze, graphite, crayon and paper on paper
support: 1015 x 681 mm frame: 1060 x 730 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: Russian, naturalised French in 1938
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Alexander Liberman
(1912-1999, born: Kiev)

Alexander Liberman, Natalia Goncharova on the staircase of her apartment building, 16 rue Jacques Callot, Paris, late 1950s, circa 1960

X76670
Natalia Goncharova on the staircase of her apartment building, 16 rue Jacques Callot, Paris, late 1950s

circa 1960
on paper, print
Photograph, gelatin silver print on paper
overall: 315 x 270 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: maker unknown
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Photography Studio of Boris Lipnitzki

Photography Studio of Boris Lipnitzki, Natalia Goncharova with Spanish Women 1924 in the background, in her studio at 13 rue Visconti, Paris, 1924-1934

X76666
Natalia Goncharova with Spanish Women 1924 in the background, in her studio at 13 rue Visconti, Paris

1924-1934
on paper, print
Photograph, gelatin silver print on paper
overall: 230 x 155 mm
State Tretyakov Gallery, Moscow. Bequeathed by A.K. Larionova-Tomilina, Paris 1989
Provenance:
The studio of Natalia Goncharova and Mikhail Larionov, Paris;
Thence by descent to Alexandra Larionova-Tomilina, in 1964;
Bequeathed by the above to the Soviet State, upon her death in 1987;
Donated by the above to the State Tretyakov Gallery in 1989.
Lender’s address: State Tretyakov Gallery, Lavrushinsky pereulok 10, Moscow 119017, Russian Federation.
Nationality of the artist: maker unknown
Identifying marks: None recorded. Place of manufacture: Paris, France. This work has a complete provenance for the period 1933-45.

Pablo Picasso
(1881-1973, born: Málaga, died: Mougins)

Pablo Picasso, Queen Isabeau, 1909

X68995
Queen Isabeau

1909
painting
Oil paint on canvas
support: 918 x 732 mm
The State Pushkin Museum of Fine Arts, Moscow
Provenance:
The artist;

From whom acquired by D.-H.Kahnweiler, around 1910;
From whom acquired by S. I. Shchukin, until 1918;
From whom acquired by the Museum of New Western Art-1, until 1923;
From which transferred to the State Museum of New Western Art, until 1948;
From which transferred to The State Pushkin Museum of Fine Arts.

Lender's address: State Pushkin Museum of Fine Arts, 12 Volkhonka Street, Moscow 119019, Russia
Nationality of the artist: Spanish
Identiyfing marks: None recorded
Place of manufacture: ?Paris

This work has a complete provenance for the period 1933-45.

Keith Haring

Tate Liverpool (Liverpool, UK) from 14 Jun 2019 until 10 Nov 2019.

Keith Haring
(1958-1990)

Keith Haring, Untitled (Spaceship with Ray), 1980

X74586
Untitled (Spaceship with Ray)

1980
on paper, unique
Ink, enamel and spray paint on paper
support: 1219 x 1156 mm
Benatar Collection
Provenance:
X74586
Keith Haring (1958-1990)
Untitled (Spaceship with Ray) 1980
Ink, enamel and spray paint on paper
1219 x 1156 mm
Benatar Collection
L0989/6419
Nationality of artist: American
Signatures, Inscriptions, and Markings
Markings on recto: signed, inscribed K. Haring P.S. 122 NYC and date stamped Aug 29 1980
Provenance
Tony Shafrazi Gallery, New York, NY
André Emmerich Gallery, New York
Private Collection, New York
Sotheby's New York, 11 May 2005, Lot 442.
Private Collection
Sotheby's New York, 14 November 2013, Lot 247.
Private collection, New York
Macrh 2017, acquired by current owner through Skarstedt Gallery New York
Exhibition History
Keith Haring - The Political Line, Kunsthalle Rotterdam, the Netherlands, September 19, 2015 - February 8, 2016
Kunsthalle der Hypo-Kulturstiftung, Munich, Germany, May 1 - August 30, 2015
de Young Museum, San Francisco, CA, November 8, 2014 - February 16, 2015, Illustrated p. 110, no. 6
Keith Haring: 1978-1982, May 2010-July 2012, Kunsthalle Wien, Vienna, Contemporary Arts Center, Cincinnati, Brooklyn Museum, Brooklyn, Illustrated pp. 61 and p. 162
Keith Haring, 20th anniversary , February 13 – April 24, 2010, Tony Shafrazi Gallery, New York
New York, Skarstedt Gallery, Keith Haring, May July, 2008
Musée des Beaux Arts de Montreal, Keith Haring, November 1998 - January 1999
Keith Haring, June 26 – September 21, 1997, Whitney Museum of American Art, New York, Illustrated in colour, p. 10-11
Keith Haring, Important Early Works from the Estate of Keith Haring, October 31 1991 – January 9 1992, Tony Shafrazi Gallery, New York
New York P.S. 122, 1980
 
 

Keith Haring, Untitled, 1980

X74827
Untitled

1980
on paper, unique
Acrylic and enamel paint and ink on paper
support: 1219 x 2946 mm
Private Collection, courtesy Heller Group
Provenance:
X74827
Keith Haring (1958-1990)
Untitled 1980
Acrylic, enamel and sumi ink on paper
1219 x 2946 mm
Private collection
Nationality of artist: American
Provenance
Tony Shafrazi Gallery, New York 
Private Collection, Europe
Christie's New York May 2011 lot 362
Private Collection
Exhibition History
New York, Queens Museum; Normal, Illinois, University Galleries, Illinois State University and Tampa Museum of Art, Keith Haring: Future Primeval, September 1990-August 1991, p. 51 (illustrated).

Keith Haring, Untitled, c. 1980

X76473
Untitled

c. 1980
on paper, unique
Ink on paper
unconfirmed: 406 x 355 mm
Private Collection
Provenance:
X76473
Keith Haring (1958-1990)
Untitled c. 1980
Ink on paper
406 x 355 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from collector Bruno Schmidt

Keith Haring, Untitled, c. 1980

X76474
Untitled

c. 1980
on paper, unique
Ink on paper
unconfirmed: 406 x 355 mm
Private Collection
Provenance:
X76474
Keith Haring (1958-1990)
Untitled c. 1980
Ink on paper
406 x 355 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from collector Bruno Schmidt

Keith Haring, Untitled, c. 1980

X76475
Untitled

c. 1980
on paper, unique
Ink on paper
unconfirmed: 406 x 355 mm
Private Collection
Provenance:
X76475
Keith Haring (1958-1990)
Untitled c. 1980
Ink on paper
406 x 355 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from collector Bruno Schmidt

Keith Haring, Untitled, c. 1980

X76476
Untitled

c. 1980
on paper, unique
Ink on paper
unconfirmed: 406 x 355 mm
Private Collection
Provenance:
X76476
Keith Haring (1958-1990)
Untitled c. 1980
Ink on paper
406 x 355 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from collector Bruno Schmidt

Keith Haring, Untitled, c. 1980

X76477
Untitled

c. 1980
on paper, unique
Ink on paper
unconfirmed: 406 x 355 mm
Private Collection
Provenance:
X76477
Keith Haring (1958-1990)
Untitled c. 1980
Ink on paper
406 x 355 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from collector Bruno Schmidt

Keith Haring, Untitled, c. 1980

X76478
Untitled

c. 1980
on paper, unique
Ink on paper
unconfirmed: 406 mm
Private Collection
Provenance:
X76478
Keith Haring (1958-1990)
Untitled c. 1980
Ink on paper
406 x 355 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from collector Bruno Schmidt

Keith Haring, Untitled, c. 1980

X76479
Untitled

c. 1980
on paper, unique
Ink on paper
unconfirmed: 406 x 355 mm
Private Collection
Provenance:
X76479
Keith Haring (1958-1990)
Untitled c. 1980
Ink on paper
406 x 355 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from collector Bruno Schmidt

Keith Haring, Untitled, c. 1980

X76480
Untitled

c. 1980
on paper, unique
Ink on paper
unconfirmed: 406 x 355 mm
Private Collection
Provenance:
X76480
Keith Haring (1958-1990)
Untitled c. 1980
Ink on paper
406 x 355 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from collector Bruno Schmidt

Keith Haring, Untitled, c. 1980

X76481
Untitled

c. 1980
on paper, unique
Ink on paper
unconfirmed: 406 x 355 mm
Private Collection
Provenance:
X76481
Keith Haring (1958-1990)
Untitled c. 1980
Ink on paper
406 x 355 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from collector Bruno Schmidt

Keith Haring, Untitled, 1981

X73119
Untitled

1981
painting
Enamel on fibreboard
support: 1219 x 1219 mm
Private Collection
Provenance:
X73119
Keith Haring (1958-1990)
Untitled 1981
Enamel on fibreboard
1219 x 1219 mm
Private Collection
Nationality of artist: American
Provenance
December 1981, acquired from Annina Nosei gallery
Exhibition history
Keith Haring – The Alphabet, The Albertina Museum, Vienna, 16 March - 24 June 2018, illustrated catalogue p. 105
Future Primeval: Queens Museum, Illinois State University Galleries Norman, Illinois, Tampa Museum of Art, September 15-November 25, 1990, reproduced in catalogue p. 60

Keith Haring, Untitled, 1981

X74585
Untitled

1981
painting
Vinyl ink on tarpaulin
support: 1829 x 1829 mm
Private Collection, Europe
Provenance:
X74585
Keith Haring (1958-1990)
Untitled 1981
Vinyl ink on tarpaulin
1829 x 1829 mm
Private collection, Europe
Nationality of artist: American
Provenance
Rene Ricard, New York
Private Collection, London
Skarstedt Gallery
Private Collection
Exhibition History
Keith Haring A New Humanism, curated by Gianni Mercurio, Zidoun Bossuyt, Luxembourg, 2019 Keith Haring: The Political Line, de Young Museum, San Francisco, November 2014 –
February 2015 Keith Haring: The Political Line, Musée d'Art Moderne de la Ville de Paris, Paris, April –
August 2013 Future Primeval, University Galleries, Illinois State University, Normal, January -
February 1991 Future Primeval, Tampa Museum of Art, Tampa, June – August 1991 Future Primeval, Queens Museum, New York, September - November 1990
Literature
Buchhart, Dieter (ed.), Keith Haring - The Political Line. San Francisco: Fine Arts Museum of San Francisco in conjunction with DelMonic Books and Prestel, 2014. Print. Illustrated p.191
Buchhart, Dieter (ed.), Keith Haring - The Political Line. Paris: Paris-Musées, les musée de la Ville de Paris, 2013. Print. Illustrated p.199
Mercurio, Gianni, and Demetrio Paparoni, eds. The Keith Haring Show. Milan: Skira Editore, 2005. Print. Illustrated p. 165 Keith Haring. Future Primeval, University Galleries, Illinois State University Normal, Illinois, 1991. Print. Illustrated p. 56 Keith Haring. Tony Shafrazi Gallery. Fall 1982. Print. Illustrated p. 54 Keith Haring. A New Humanism, Zidoun Bossuyt Gallery, Luxembourg, 2019. Print. p.31, 109

Keith Haring, Untitled, 1981

X76456
Untitled

1981
on paper, unique
Ink on paper
support: 953 x 1257 mm
Private collection, courtesy Martin Lawrence Galleries
Provenance:
X76456
Keith Haring (1958-1990)
Untitled 1981
Sumi ink on paper
953 x 1257 mm
Private Collection, Courtesy Martin Lawrence Galleries
Nationality of artist: American
Signatures, Inscriptions, and Markings
Markings on recto: Signed verso "Sept 5, 1981 – K. Haring NYC"
 
Provenance
Tony Shafrazi Gallery, NYC
Mr. & Mrs. Arthur Jacobson, NY
Acquired from Heather James Fine Art, Feb 21, 2017

Keith Haring, Untitled, 1981-1982

X72916
Untitled

1981-1982
painting
Acrylic paint on wood
unconfirmed: 1803 x 400 mm
Collection Richard P. Emerson
Provenance:
X72916
Keith Haring (1958-1990)
Untitled 1981-82
Acrylic paint on wood
1803 x 400 mm
Richard P. Emerson
Nationality of artist: American
Provenance
Private collection, United Kingdom
Martos Gallery, New York
Private collection
Acquired by the current owner through Christie’s, New York, 16 November 2018, Sale 15976, lot 827
Exhibition History
San Francisco, de Young Museum, Keith Haring: The Political Line, November 2014-February 2015, pp. 73 and 97 (illustrated).
Munich, Kunsthalle der Hypo-Kulturstiftung and Kunsthal Rotterdam, Keith Haring: Gegen den Strich, May 2015-February 2016, p. 121, pl. 83 (illustrated).
New York, The Peninsula, Works from Celebrated Artists of the 1980s, June-October 2018.
Literature
J. Deitch, ed., Keith Haring, New York, Tony Shafrazi Gallery, 1982, p. 16 (installation view illustrated).
Galerie Laurent Strouk, Keith Haring, Paris, 2014, p. 22 (illustrated).

Keith Haring, Untitled, 1982

X73067
Untitled

1982
sculpture
Baked enamel on steel
unconfirmed: 1092 x 1092 mm
Private Collection
Provenance:
X73067
Keith Haring (1958-1990)
Untitled 1982
Baked enamel on metal
1092 x 1092 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from Tony Shafrazi Gallery, NY
Exhibition History
Keith Haring – The Alphabet, Albertina Museum, Vienna, Austria , March 15 – June 24, 2018
Keith Haring: The Political Line, Kunsthal Rotterdam, Rotterdam, Netherlands, September 19, 2015 – February 8, 2016
Keith Haring: The Political Line, Kunsthalle der Hypo-Kulturstiftung, Munich, Germany, May 1 – August 30, 2015
Keith Haring: The Political Line, de Young Museum, San Francisco, CA, November 8, 2014 – February 16, 2015

Keith Haring, Untitled (Russian Doll), 1982

X75081
Untitled (Russian Doll)

1982
painting
Flourescent paint on wood
unconfirmed: 812 x 635 x 533 mm
Private Collection
Provenance:
X75081
Keith Haring (1958-1990)
Untitled 1982
Day-glo paint on wood
812 x 635 x 533 x 590 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from Tony Shafrazi Gallery, NY
Exhibition History
Keith Haring – The Alphabet, Albertina Museum, Vienna, Austria , March 15 – June 24, 2018
Keith Haring: The Political Line, Kunsthal Rotterdam, Rotterdam, Netherlands, September 19, 2015 – February 8, 2016
Keith Haring: The Political Line, Kunsthalle der Hypo-Kulturstiftung, Munich, Germany, May 1 – August 30, 2015
Keith Haring: The Political Line, de Young Museum, San Francisco, CA, November 8, 2014 – February 16, 2015

Keith Haring, Untitled, 1982

X76455
Untitled

1982
painting
Acrylic paint on vinyl tarpaulin with metal grommets
support: 1835 x 1835 mm
Private Collection, Courtesy Martin Lawrence Galleries
Provenance:
X76455
Keith Haring (1958-1990)
Untitled 1982
Acrylic on vinyl tarpaulin with metal grommets
1835 x 1835 mm
Private Collection, Courtesy Martin Lawrence Galleries
Nationality of artist: American
Signatures, Inscriptions, and Markings
Markings on recto: signed and dated April 1982
 
Provenance
Private Collection, California
Sotheby’s NY, 11/10/10 sale (lot 454)
Acquired from CHR HK, May 26, 2018 (Chalk & Vermilion Art LLC)

Keith Haring, Untitled, 1982

X76457
Untitled

1982
on paper, unique
Marker on paper
support: 762 x 1016 mm
Private Collection, Courtesy Martin Lawrence Galleries
Provenance:
X76457
Keith Haring (1958-1990)
Untitled 1982
Marker on paper
762 x 1016 mm
Private Collection, Courtesy Martin Lawrence Galleries
Nationality of artist: American
Signatures, Inscriptions, and Markings
Markings on recto: signed and dated in pencil on reverse "K. Haring '82 +"
 
Provenance
Acquired from Ikon Gallery in 2003
Martin Lawrence Galleries
Private collection 2004
Martin Lawrence Galleries 2015
Private collection
Acquired from CHR NY, March 4th, 2016 (Chalk & Vermilion Art LLC)

Keith Haring, Poster for Nuclear Disarmament, 1982

Z08756
Poster for Nuclear Disarmament

1982
on paper, print
Offset lithograph on paper
unconfirmed: 654 x 505 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08756
Keith Haring (1958-1990)
Poster for Nuclear Disarmament 1982
Print on paper
654 x 505 mm
Collection Noirmontartproduction, Paris
Edition of 20,000 copies
Signed and dated on the plate ‘K, Haring 1982’ on lower right
Poster was created and distributed for free at the antinuclear protest ‘Rally for Nuclear Disarmament’, Central Park in New York on June 12th, 1982
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 31 and p. 106)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 8)

Keith Haring, Duck rock, 1982

Z08781
Duck rock

1982
supporting material
Record
unconfirmed: 315 x 315 mm
Collection Noirmontartproduction, Paris
Provenance:
Signed and dated 'Keith Haring 1982' on top left
Literature:
'Art Record Covers', Cologne, Germany, 2017, illustrated p. 217

Keith Haring, Untitled, 1983

X72913
Untitled

1983
painting
Vinyl paint on tarpaulin
unconfirmed: 3068 x 3020 mm
Collection of KAWS
Provenance:
X72913
Keith Haring (1958-1990)
Untitled 1983
Vinyl paint on tarpaulin
3068 x 3020 mm
Collection of KAWS
Inv. Nr. 3144
Provenance
Joost De Clercq, Knokke
Private Collection, Switzerland
Sale: Sotheby's, London, Contemporary Art, 22 June 2005, Lot 48
Private Collection, Belgium
Sale: Sotheby's, London, Contemporary Art Evening Auction, 5 February 2009, Lot 18
Private Collection, New York
Acquired directly from the above by the present owner
Sale: Sotheby's London, Contemporary Evening Auction, October 12, 2012, Lot 12
Exhibition history
Knokke, Casino, Keith Haring, 1987
New York, Whitney Museum of American Art; Toronto, Art Gallery of Ontario,
Keith Haring, 1997 p. 32, illustrated in color
Milan, Fondazione La Triennale, The Keith Haring Show, 2005, p. 192, no. 32,
Illustrated in colour
Lyon, Musee d'art contemporain, Keith Haring, 2008, p. 160, no. 38, illustrated in colour
Musee d'Art moderne de la Ville de Paris, Keith Haring: The Political Line. April 19-August 18, 2013, illustrated in catalogue, p.139
Keith Haring, Albertina Museum, Vienna, Austria, March 16 - June 24, 2018
Literature
Germano Celant, Ed., Keith Haring, Munich 1997, no. 38, illustrated in colour

Keith Haring, Untitled, 1983

X73263
Untitled

1983
sculpture
Acrylic paint on leather
support: 1346 x 2946 mm
Private Collection
Provenance:
X73263
Keith Haring (1958-1990)
Untitled 1983
acrylic on leather
1346 x 2946 mm
Private Collection
Nationality of artist: American
Signatures, Inscriptions, and Markings
Markings on recto:
Provenance
Martos Gallery, New York, NY
Fun Gallery, New York, NY
Tony Shafrazi Gallery, New York, NY
Christie's New York (May 20, 1999), New York, NY
Private Collection
Acquired 18 July 2017
Exhibition History
Keith Haring, About Art, Curated by Gianni Mercurio, Palazzo Reale, Milan, Italy, February 20, 2017 – June 18, 2017, Illustrated p. 163
Keith Haring - The Political Line, Kunsthalle Rotterdam, Rotterdam, the Netherlands, September 19, 2015 - February 8, 2016
Keith Haring - The Political Line, Kunsthalle der Hypo-Kulturstiftung, Munich, Germany, May 1 - August 30, 2015, Illustrated p. 88
Keith Haring - The Political Line, de Young Museum, San Francisco, CA, November 8, 2014 - February 16, 2015, Illustrated p. 90
Keith Haring: Paintings, Sculptures and Drawings, Tony Shafrazi Gallery, New York, NY, June 20 - July 31, 1997
Keith Haring and LA II, Fun Gallery, New York, NY, 1983

Keith Haring, Malcolm McLaren, 1983

Z08782
Malcolm McLaren

1983
supporting material
Record
unconfirmed: 307 x 304 mm
Collection Noirmontartproduction, Paris
Provenance:

Keith Haring, Life is something special, 1983

Z08783
Life is something special

1983
supporting material
Record
unconfirmed: 315 x 315 mm
Collection Noirmontartproduction, Paris
Provenance:
Literature:
'Art Record Covers', Cologne, germany, 2017, illustrated p. 212

Keith Haring, Untitled (Apartheid), 1984

X70879
Untitled (Apartheid)

1984
painting
Acrylic paint on canvas
support: 2980 x 3650 mm
Collection Stedelijk Museum, Amsterdam
Provenance:
X70879
Keith Haring (1958-1990)
Untitled (Apartheid) 1984
Acrylic paint on canvas
2980 x 3650 mm
Stedelijk Museum Amsterdam
Accession Number: A40046
Nationality of artist: American 
Provenance
Acquisition by Stedelijk Museum Amsterdam at Gallery Tony Shafrazi in New York in 1986.
Exhibition History
Zomeropstelling, Stedelijk Museum Amsterdam, 11 August –end of August 1987
Aanwinsten / Acquisitions 1985 -1992. Aanwinsten tijdens het directoraat Wim Beeren, Stedelijk Museum Amsterdam, 20 December 1992 – 7 February 1993
Keith Haring retrospective exhibition, Whitney Museum of American Art, 18 June 1997 – 21 September 1997
Art Gallery of Ontario, 17 October 1997 – 18 January 1998
Museum of Contemporary Art, Miami, 12 February 1998 – 26 April 1998
Museum of Modern Art (Ibaraki), 08 May 1998 – 06 September 1998
Museum of Fine Arts, Houston, 05 November 1998 – 10 January 1999
City Gallery, Wellington (NZ), 13 March 1999 – 13 June 1999
Rondom Hopper : een keuze uit de eigen collectie Amerikaanse kunst, fotografie en toegepaste kunst, Stedelijk Museum Amsterdam, 10 March 2001 – 03 June 2001
- The Keith Haring show, Fondazione La Triennale di Milano, 27 September 2005 – 29 January 2006
- Keith Haring : the political line, Musée d'Art Moderne de la ville de Paris, 19 April 2013 – 18 August 2013
- Keith Haring : the political line, De Young, San Francisco, 08 November 2014 – 16 February 2015, Kunsthalle der Hypo-Kulturstiftung, 01 May 2015 – 30 August 2015

Keith Haring, Untitled, 1984

X73348
Untitled

1984
painting
Acrylic paint on canvas
support: 2388 x 2388 mm
Private Collection, courtesy Heller Group
Provenance:
X73348
Keith Haring (1958-1990)
Untitled 31 May 1984
Acrylic on canvas
2388 x 2388 mm
Private collection
Nationality of artist: American
Provenance
Salvatore Ala, Milan
Private Collection
Exhibition History
Salvatore Ala Gallery, Milan, Italy 1984.
Karlsruhe. Museum Für Neue Kunst. Keith Haring - Heaven Hell. Sept. 23, 2001 - Jan. 6, 2002. Travelled to: Rotterdam. Museum Boymans van Beuningen. May 10 - July 21, 2002. Illustration on page 35.
Milan. Fondazione Triennale di Milano. The Keith Haring Show. Sept. 27, 2005 - Jan. 29, 2006. Illustration #33, page 193.
New York, Skarstedt Gallery, Keith Haring, April 15-June 30, 2008.
Paris, France. Musée d'Art moderne de la Ville de Paris, "Keith Haring,"April 19-August 18, 2013.
San Francisco, United States. Fine Arts Museums of San Francisco, "Keith Haring: The Political Line," November 8, 2014-February 16, 2015.
New York, Skarstedt Gallery, "Keith Haring: Heaven and Hell," March 5 - April 18, 2015.

Keith Haring, Untitled (Pop Shop poster), 1984

X75083
Untitled (Pop Shop poster)

1984
on paper, unique
Mixed media on board
unconfirmed: 1524 x 1016 mm
Private Collection
Provenance:
X75083
Keith Haring (1958-1990)
Untitled 1984
Mixed media on board
1524 x 1016 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired directly from Keith Haring Pop Shop/Private Collection, NY

Keith Haring, Scratchin, 1984

Z08784
Scratchin

1984
supporting material
Record
unconfirmed: 313 x 315 mm
Collection Noirmontartproduction, Paris
Provenance:
Signed 'Keith Haring' top right

Keith Haring, Untitled, 1985

X70822
Untitled

1985
painting
Acrylic and enamel paint on canvas
support: 3048 x 3048 mm
Ludwig Forum für Internationale Kunst Aachen, loan of the Peter and Irene Ludwig Foundation
Provenance:
X70822
Keith Haring (1958-1990)
Untitled 1985
Oil and acrylic on canvas
2960 x 3030 mm
Ludwig Forum für Internationale Kunst Aachen, loan of the Peter and Irene Ludwig
Foundation
Inv. Nr. 1447
Provenance
Acquired 1985 at Tony Shafrazi Gallery, New York
Exhibition history
New York Graffiti, Koblenz 1988;
Graffiti New York - Paris. Neue Galerie Sammlung Ludwig Aachen, Musée des Beaux-Arts, Verviers 18.06.1989 - 27.08.1989;
Figuration libre and the new figuratives, Ludwig Forum für Internationale Kunst, Aachen 03.10.1991 - 17.11.1991;
Try to mourn. Masterpieces from the Ludwig Collection from antiquity to the present. From the exhibition series: "Touching", Ludwig Institut Schloss Oberhausen 06.05.1995 - 02.07.1995 (Haus Ludwig für Kunstausstellungen Saarlouis: 24.09.1995 - 31.12.1995);
Our century. People pictures - picture worlds. Museum Ludwig, Köln 09.07.1995 - 08.10.1995;
Keith Haring, Whitney Museum of American Art, New York 18.06.1997 - 21.09.1997;
Keith Haring, Palazzo Lanfranchi, Pisa 08.12.1999 - 12.03.2000;
Streit-Lust – for argument´s sake: art of the last 30 years and the Sammlung Ludwig, Ludwig Forum für Internationale Kunst 28.10.2001 - 10.02.2002;
Gezeichnet Graffiti, Kunsthalle Darmstadt 04.04.2004 - 30.05.2004;
Keith Haring. Life as a Drawing, Ludwig Museum im Deutschherrenhaus, Koblenz 26.08.2007 - 28.10.2007;
Keith Haring, Musée d´art contemporain de Lyon 22.02.2008 - 30.06.2008
Dublin City Gallery The Hugh Lane 01.10.2008 - 28.02.2009;
Keith Haring, Kunsthalle Weihaupt, Ulm 17.05.2009 - 01.11.2009;
Keith Haring - The Political Line, Musée d´art moderne, Paris 19.04.2013 - 18.08.2013;
Keith Haring. About Art, Palazzo Reale, Milano/Mailand 21.02.2017 - 18.06.2017;
Keith Haring: The Alphabet – Retrospective for 60th birthday, Albertina, Wien 18.03.2018 - 24.06.2018;

Keith Haring, Raindance, 1985

Z08762
Raindance

1985
on paper, print
Poster
unconfirmed: 836 x 607 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08762
Keith Haring (1958-1990)
Rain Dance 1985
Lithograph on paper
786.5 x 558 mm
Collection Noirmontartproduction, Paris
In collaboration with: Jean-Michel Basquiat, Roy Lichtenstein, Yoko Ono, Andy Warhol
Artist’s credit; copyright 1985 Keith Haring, Andy Warhol, Yoko Ono, Roy Lichtenstein, Jean-Michel Basquiat
Signed on the plate ‘Jean-Michel Basquiat’, ‘Andy Warhol’, ‘Roy Lichtenstein’, ‘Yoko Ono’, ‘Keith Haring’ on the left side
Poster created for the charitable evening in favor of ‘The African Emergency Relief Fund’ with support from UNICEF in the Paradise Garage discotheque in New York on January 30th 1985 and the exhibition ‘Rain Dance’ held at 292 Lafayette Street in New York from 2-23 February 1985
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 57 and p. 110)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 89 and p. 79)
Literature
Andy Warhol: The Complete Commissioned Posters 1964-1987, 2014, illustrated p. 116 and 117

Keith Haring, New York is Book Country, 1985

Z08763
New York is Book Country

1985
on paper, print
Offset lithograph on paper
unconfirmed: 695 x 550 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08763
Keith Haring (1958-1990)
New York is Book Country 1985
Lithograph on paper
645 x 500 mm
Collection Noirmontartproduction, Paris
Signed and dated on plate ‘K. Haring 1985’ on lower right
Poster created for the book sale ‘NEW YORK IS BOOK COUNTRY’ held on 5th avenue, New York, 22 September 1985
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 59 and p. 112)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 89 and p. 56)
 

Keith Haring, Untitled, 1986

X72701
Untitled

1986
painting
Acrylic and oil paint on tarpaulin
support: 2438 x 2438 mm
Private collection
Provenance:
X72701
Keith Haring (1958-1990)
Untitled September 23 1986
Acrylic and oil on tarpaulin
2438 x 2438 mm
Private collection
Signed and dated Sept 23/1986 on reverse
Provenance
Galerie Jérôme de Noirmont, Paris
Galerie Daniel Templon, Paris, no. 25555
Acquired directly from the artist
Exhibition history
Keith Haring – The Alphabet, Albertina Museum, Vienna, Austria, March 16 - June 24, 2018 (illustrated catalogue, p. 193)
Keith Haring – About Art, Palazzo Reale, Milan, Italy, 21 February – 18 June 2017
Keith Haring – The Political Line, Kunsthal Rotterdam, the Netherlands, 19 September 2015 – 8 February 2016; Kunsthalle Munich, Germany, 1 May – 30 August 2015; Musee d'Art moderne de la Ville de Paris, 19 April – 18 August 2013 (illustrated catalogue, p. 203)
Keith Haring, Lyon, Musee d'art contemporain, 22 February – 19 June 2008, (illustrated catalogue, p. 197)
The Keith Haring Show, Milan, Fondazione La Triennale, 27 September 2005 – 29 January 2006 (illustrated catalogue, p. 231)
Keith Haring – Recent Works, Daniel Templon Gallery, Paris, 18 October – 22 November 1986
Literature
Keith Haring – About Art, Guinti Arte Mostre Musei et Ore Cultura, Milan, Italy, 2017, p. 133-135
Alexandra Kolosa, Keith Haring 1958-1990 – A Life of Art, Cologne, Germany, 2016, p. 61
Keith Haring, Heaven and Hell, Museum fur Neue Kunst – ZKM Karlsruhe, 2001, p. 11
Keith Haring, Japan, 1992, p. 153
John Gruen, Keith Haring – the Authorized Biography, London 1991, p. 173

Keith Haring, Club DV 8 Unveils the Keith Haring Room, 1986

Z08768
Club DV 8 Unveils the Keith Haring Room

1986
on paper, print
Poster
unconfirmed: 455 x 558 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08768
Keith Haring (1958-1990)
Club DV 8 Unveils the Keith Haring Room 1986
Lithograph on paper
406.5 x 508 mm
Collection Noirmontartproduction, Paris
Signed and dated on the plate ‘copyright K Haring’ on the right
Poster created for the opening of the Keith Haring Room at Club DV8 in San Francisco on June 5 1986
Provenance
Keith Haring Foundation, New York
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 114)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 90 and p. 55)
 

Keith Haring, City Kids Speak on Liberty '86, 1986

Z08770
City Kids Speak on Liberty '86

1986
on paper, print
Offset lithograph on paper
unconfirmed: 659 x 533 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08770
Keith Haring (1958-1990)
City Kids Speak on Liberty 1986
Lithograph on paper
609 x 483 mm
Collection Noirmontartproduction, Paris
Signed and dated on the plate ‘copyright K Haring 86’ on the right
Poster created for the unveiling of the banner of 30 meters high representing the Statue of Liberty painted by Keith Haring and 1000 children deployed on a building in New York on 2 July 1986, to celebrate the centenary of the Statue of Liberty
Provenance
Keith Haring Foundation, New York
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 79 and p. 114)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 91)
 

Keith Haring, POP-Shop, 1986

Z08771
POP-Shop

1986
on paper, print
Offset lithograph on paper
unconfirmed: 912 x 607 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08771
Keith Haring (1958-1990)
Pop Shop 1986
Lithograph on paper
862.5 x 558.5 mm
Collection Noirmontartproduction, Paris
Signed and dated on the plate ‘copyright K Haring’ on the right
Poster created to promote the Pop Shop in New York in 1986
Provenance
Private collection, USA
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 113)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 91 and p. 47)
 

Keith Haring, Crack Down!, 1986

Z08772
Crack Down!

1986
on paper, print
Poster
unconfirmed: 608 x 481 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08772
Keith Haring (1958-1990)
Crack Down! 1986
Lithograph on paper
558 x 432.5 mm
Collection Noirmontartproduction, Paris
Signed and dated on the plate ‘copyright K Haring 86’ on the right
Poster created to fight against the use of drugs
 
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 69 and p. 114)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 91 and p. 76)
 

Keith Haring, Someone like you, 1986

Z08785
Someone like you

1986
supporting material
Record
unconfirmed: 315 x 315 mm
Collection Noirmontartproduction, Paris
Provenance:
Signed and dated 'Keith Haring 1986' bottom right
Literature:
'Art Record Covers', Cologne, Germany, 2017, illustrated p. 213

Keith Haring, Emanon - "The Baby Beat Box", 1986

Z08786
Emanon - "The Baby Beat Box"

1986
supporting material
Record
unconfirmed: 313 x 313 mm
Collection Noirmontartproduction, Paris
Provenance:
Signed and dated 'copyright K Haring 86' on lower right
Literature:
'Art Record Covers', Cologne, Germany, 2017, illustrated p. 215

Keith Haring, Safe Sex!, 1987

Z08773
Safe Sex!

1987
on paper, print
Offset lithograph on paper
unconfirmed: 798 x 743 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08773
Keith Haring (1958-1990)
Safe Sex! 1987
Lithograph on paper
748.5 x 693 mm
Collection Noirmontartproduction, Paris
Signed and dated on the plate ‘copyright K Haring 87’ on the center bottom
Poster created to promote the use of condoms and the fight against AIDS.
 
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 117)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 92 and p. 74)
 

Keith Haring, A very special Christmas, 1987

Z08787
A very special Christmas

1987
supporting material
Record
unconfirmed: 314 x 314 mm
Collection Noirmontartproduction, Paris
Provenance:
Signed and dated 'K. Haring 87' on bottom left

Keith Haring, Life is fresh - Crack is wack, 1987

Z08788
Life is fresh - Crack is wack

1987
supporting material
Record
unconfirmed: 315 x 315 mm
Collection Noirmontartproduction, Paris
Provenance:
Signed and dated 'K. Haring 87' lower left

Keith Haring, Man to man, At the gym, 1987

Z08789
Man to man, At the gym

1987
supporting material
Record
unconfirmed: 181 x 181 mm
Collection Noirmontartproduction, Paris
Provenance:

Keith Haring, Break Weapons not Spirits, 1988

Z08775
Break Weapons not Spirits

1988
on paper, print
Poster
unconfirmed: 479 x 329 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08775
Keith Haring (1958-1990)
Break Weapons not Spirits 1988
Lithograph on paper
430.5 x 279 mm
Collection Noirmontartproduction, Paris
Signed and dated on the plate ‘copyright K Haring 88’ on the right
Poster created for the big march ‘Break Weapons Not Spirits’ against the use of weapons and military intervention held in New York and San Francisco on June 11th 1988
Provenance
Keith Haring Foundation, New York
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 118)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 92)
 

Keith Haring, National Coming Out Day, 1988

Z08777
National Coming Out Day

1988
on paper, print
Offset lithograph on paper
unconfirmed: 710 x 633 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08777
Keith Haring (1958-1990)
National Coming Out Day 1988
Lithograph on paper
658.5 x 583 mm
Collection Noirmontartproduction, Paris
Signed and dated on the plate ‘copyright K Haring 88’ on the bottom right
Poster created for the ‘National Coming Out Day’ held on October 11, 1988 in the United States
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 92-93 and p. 120)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 93 and p. 81)
 

Keith Haring, Nelson Mandela 70th Birthday Tribute, 1988

Z08779
Nelson Mandela 70th Birthday Tribute

1988
on paper, print
Poster
unconfirmed: 642 x 467 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08779
Keith Haring (1958-1990)
Nelson Mandela 70th Birthday Tribute 1988
Lithograph on paper
594 x 421 mm
Collection Noirmontartproduction, Paris
Signed and dated on the plate ‘copyright K Haring 88’ on the right
Poster created for Nelson Mandela 70th birthday tribute at Wembley Arena on June 11, 1988

Keith Haring, Untitled, 1989

X75826
Untitled

1989
painting
Acrylic paint on canvas
support: 1500 x 1500 mm
Private Collection
Provenance:
X75826
Keith Haring (1958-1990)
Untitled 1989
Acrylic paint on canvas1500 x 1500 mm
Private Collection
Nationality of artist: American
Provenance
May 1989, acquired from Tony Shafrazi Gallery
Literature
Germano Celant, Keith Haring, 1992, p. 181

Keith Haring, Untitled, c.1987-9

X75829
Untitled

c.1987-9
on paper, unique
Gouache, ink and printed papers on paper
support: 622 x 750 mm
Private Collection
Provenance:
X75829
Keith Haring (1958-1990)
Untitled c. 1987-89
Gouache, sumi ink and printed papers on paper
622 x 750 mm
Private Collection
Nationality of artist: American
Provenance
November 1989, acquired from Tony Shafrazi Gallery

Keith Haring, Untitled, c.1987-9

X75832
Untitled

c.1987-9
on paper, unique
Gouache, ink and printed papers on paper
support: 622 x 750 mm
Private Collection
Provenance:
X75832
Keith Haring (1958-1990)
Untitled c. 1987-89
Gouache, sumi ink and printed papers on paper
622 x 750 mm
Private Collection
Nationality of artist: American
Provenance
November 1989, acquired from Tony Shafrazi Gallery

Keith Haring, Ignorance = Fear, 1989

Z08780
Ignorance = Fear

1989
on paper, print
Offset lithograph on paper
unconfirmed: 660 x 1141 mm
Collection Noirmontartproduction, Paris
Provenance:
Z08780
Keith Haring (1958-1990)
Ignorance = Fear 1989
Lithograph on paper
611.5 x 1091.5 mm
Collection Noirmontartproduction, Paris
Signed and dated on the plate ‘copyright K Haring 89’ on the bottom right
Poster created for a campaign led by activist group Act Up to raise awareness among the general public to recognize AIDS as a disease
Exhibition history
Keith Haring, Posters, Museum fur Kunst und Gewerbe, Hamburg, Germany, 31 May- 5 November 2017 (reproduced in catalogue, p. 96-97 and p. 121)
Keith Haring, Affiches Vintage, Quartier libre SIG, Geneva, 17 October 2014 – 18 January 2015
Keith Haring, Short Messages – Posters, Versicherungskammer Bayern Munich, Germany, 13 November 2002 – 15 January 2003; Museum fur Kunst und Gewerbe, Hambourg, Germany, 13 February – 4 May 2003; Kunstmuseum Heidenheim, Heidenheim, Germany, 17 May – 20 June 2003; Kunsthaus Kaufbeuren, Kaufbeuren, Germany, August - September 2003 (reproduced in catalogue, p. 95 and p. 82-83)

Keith Haring
(1958-1990)
LA II Angel Ortiz
(born 1967, born: New York)

Keith Haring and LA II Angel Ortiz, Untitled, 1981

X73068
Untitled

1981
sculpture
Marker on taxi hood
unconfirmed: 1600 x 1295 mm
Private Collection
Provenance:
X73068
Keith Haring (1958-1990) in collaboration with LAII
Untitled 1981
Marker on taxi hood
1600 x 1295 mm
Collection of Larry Warsh
Nationality of artist: American
Provenance
Acquired from Tony Shafrazi Gallery, NY
Exhibition History
Keith Haring: The Political Line, Kunsthal Rotterdam, Rotterdam, Netherlands
September 19, 2015 – February 8, 2016
Keith Haring: The Political Line, Kunsthalle der Hypo-Kulturstiftung, Munich, Germany
May 1 – August 30, 2015
Keith Haring: The Political Line, de Young Museum, San Francisco, CA
November 8, 2014 – February 16, 2015

Takis

Tate Modern (London, UK) from 03 Jul 2019 until 27 Oct 2019.

Takis
(1925 - 2019, born: Athens, active: Paris)

Takis, Standing Woman with Horns, 1954

X69083
Standing Woman with Horns

1954
sculpture
Bronze, iron, steel
unconfirmed: 371 x 114 x 102 mm
The Menil Collection, Houston, Gift of Alexander Iolas CA 5835
Provenance:
Provenance:
The artist;
Alexander Iolas, New York, by 1958;
Gift of the above to John and Dominique de Menil, Houston, 1958-1998;
Bequest of Dominique de Menil to the Menil Foundation, Houston, 1998-present.
Nationality of Artist: Greek
-This work was produced after the operative period 1933 - 45.

Takis, Signal, 1955

X69531
Signal

1955
sculpture
Bronze, paint, steel
unconfirmed: 1181 x 822 x 587 mm
The Menil Collection, Houston Y 322
Provenance:
Provenance:
The artist;
Alexander Iolas Gallery, New York, by 1964;
Purchased from the above by Art Investments, Houston,1964-1973;
Upon dissolution of above partnership dispersed to Dominique de Menil, Houston, 1973-1998;
Bequest of Dominique de Menil to Menil Foundation, Houston, 1998-present.
Nationality of Artist: Greek
-This work was produced after the operative period 1933 - 45.

Takis, Animal Elements (Insects), 1956

X69526
Animal Elements (Insects)

[Eléments animaux (Insectes)] 1956
sculpture
Bronze, iron, paint, steel
unconfirmed: 3200 x 2083 x 572 mm
The Menil Collection, Houston 1978-168 E
Provenance:
Provenance:
The artist;
Alexander Iolas Gallery, New York, by 1960;
Purchased from the above by John and Dominique de Menil, Houston, 1960-1978;
Bequest of John de Menil to the Menil Foundation, Houston, 1978-present
Nationality of Artist: Greek
-This work was produced after the operative period 1933 - 45.

Takis, Insect, 1956

X69529
Insect

1956
sculpture
Acrylic sheet, bronze, paint, steel
unconfirmed: 1270 x 660 x 292 mm
The Menil Collection, Houston X 0038
Provenance:
Provenance:
The artist;
Alexander Iolas Gallery, New York, by 1960;
Purchased from the above by John and Dominique de Menil, 1960-1998;
Bequest of Dominique de Menil to the Menil Foundation, Houston, 1998.
Nationality of Artist: Greek
-This work was produced after the operative period 1933 - 45.

Takis, Magnetic Disc, 1960

X69510
Magnetic Disc

1960
sculpture
Aluminium, iron nails, magnet, nylon thread
unconfirmed: 440 x 440 x 200 mm
Exhibition label: "Francesca Martelli, Lugano" Exhibition Catalogue: "Courtesy of Martelli Fine Art, Switzerland"
Provenance:
Provenance:
The artist;
Acquired from the artist by Collection Maria Demetriades (Medusa Art Gallery Athens Greece) in 1983;
By descent to heirs of Maria Demetriades (Medusa Art Gallery Athens, Greece);
Acquired from the above by Martelli Fine Art, Switzerland in 2018.
Nationality of Artist: Greek
-This work was produced after the operative period 1933 - 45.

Takis, Telepainting, 1966

X69527
Telepainting

[Télépeinture] 1966
sculpture
Acrylic sheet, iron nails, magnets, nylon thread, paint, porcelain
unconfirmed: 768 x 768 mm
The Menil Collection, Houston 1978-170 E
Provenance:
Provenance:
The artist;
Alexander Iolas Gallery, New York, by 1968;
Purchased from the above by John and Dominique de Menil, Houston, 1968-1978;
Bequest of John de Menil to the Menil Foundation, Houston, 1978-present.
Nationality of Artist: Greek
-This work was produced after the operative period 1933 - 45.

Takis, Magnetic Fields, 1969

X69605
Magnetic Fields

1969
sculpture
Metal, magnets, wire
object: 635 x 14630.4 x 4876.8 mm (Tall) object, each: 641.4 mm (Medium) object, each: 565.2 mm (Small) object, each: 501.7 mm
Solomon R. Guggenheim Museum, New York. Partial gift, Robert Spitzer, by exchange 1970. 70.1928.
Provenance:
The artist;
Acquired by the Solomon R. Guggenheim Museum, New York through Howard Wise Gallery, New York, 1970.
Nationality of Artist: Greek
Identifying Marks:
Place of Manufacture:
Partial Exhibition History:
Partial Exhibition History:
-Within the Decade: Selections from the Guggenheim Museum Permanent Collection (Solomon R. Guggenheim Museum, 2/12/1974-3/24/1974)
-Museum Pieces of the Post-War Era (Solomon R. Guggenheim Museum, 9/7/1972-10/15/1972)
-Selections from the Museum Collection and Recent Acquisitions, 1971 (Solomon R. Guggenheim Museum, 6/11/1971-9/12/1971)
Partial Publication History:
Takis, Jeu de Paume, 1993. Pg. 183
-This work was produced after the operative period 1933 - 45.

Olafur Eliasson: In real life

Tate Modern (London, UK) from 11 Jul 2019 until 05 Jan 2020.

Olafur Eliasson
(born 1967, born: Copenhagen)

Olafur Eliasson, Wavemachines, 1995

X71709
Wavemachines

1995
installation
Acrylic, transparent plastic sheet, water, ink (yellow), motors, transformer
250 x 9000 x 2120 mm
Kunstmuseum Basel, Ankauf 2012, Inv. G 2012.18
Provenance:
Acquired from the artist through neugerriemschneider, Berlin, 2012
Nationality of the artist: Danish-Icelandic
Identifying marks:
Place of manufacture: Berlin

This work was completed after the operative period 1933--45.

Olafur Eliasson, A description of a reflection or, a pleasant exercise on its qualities, 1995

X71710
A description of a reflection or, a pleasant exercise on its qualities

[Eine Beschreibung einer Reflexion, oder aber eine angenehme Übung zu deren Eigenschaften] 1995
installation
Spotlight, mirrors, projection screen, motor, tripod
Variable
Boros Collection, Berlin
Provenance:
Acquired from the artist through neugerriemschneider, Berlin, 2000
Nationality of the artist: Danish-Icelandic
Identifying marks:
Place of manufacture: Berlin

This work was completed after the operative period 1933--45.

Olafur Eliasson, Your spiral view, 2002

X71717
Your spiral view

2002
installation
Stainless steel mirror, steel
object: 3200 x 3200 x 8000 mm
Boros Collection, Berlin
Provenance:
Acquired from the artist through neugerriemschneider, Berlin, 2002
Nationality of the artist: Danish-Icelandic
Identifying marks:
Place of manufacture: Berlin

This work was completed after the operative period 1933--45.

Olafur Eliasson, Glacial currents (yellow, sienna), 2018

X77174
Glacial currents (yellow, sienna)

2018
on paper, unique
Watercolour, Indian ink and pencil on paper
1525 x 1525 x 80 mm
Collection of Eleanor & Francis Shen
Provenance:
Acquired from the artist through neugerriemschneider, Berlin, November 2018
Nationality of the artist: Danish-Icelandic
Identifying marks:
Place of manufacture: Berlin

This work was completed after the operative period 1933--45.

Dóra Maurer

Tate Modern (London, UK) from 05 Aug 2019 until 05 Jul 2020.

Dóra Maurer
(born 1937, born: Budapest)

Dóra Maurer, What can one do with a paving stone?, 1971

X74276
What can one do with a paving stone?

1971
on paper, print
Photographs, gelatin silver prints mounted on canvas
unconfirmed: 445 x 1520 mm unconfirmed, frame: 470 x 1550 x 30 mm
Vintage Galéria
Provenance:
The artist through Vintage Galéria; Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Parallel Oeuvres, Maurer – Gáyor, exhibition catalogue, Városi Művészeti Múzeum, Győr 2002
Dóra Maurer: Snapshots, exhibition catalogue, Museum Ritter Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, Waldenbuch 2014
Dóra Maurer: Traces 1970-1980, Dominik Art Projects Foundation, Krakow 2011
Dóra Maurer: Fotómunkák/Photoworks 1971-1993, exhibition catalogue, Vintage Galéria, Budapest 2007
This work was completed after the operative period 1933-45.

Dóra Maurer, KV's 1st of May Parade on Artificial Ground, 1971

X75343
KV's 1st of May Parade on Artificial Ground

1971
on paper, unique
Photographs, silver gelatin prints mounted on canvas
unconfirmed: 185 x 1765 mm unconfirmed, frame: 210 x 1790 x 30 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Dóra Maurer: Traces 1970-1980, Dominik Art Projects Foundation, Krakow 2011
Printing / Leaving Traces – The Graphic Oeuvre of Dóra Maurer 1957–1981, exhibition catalogue, Hungarian University of Fine Art, Budapest 2017

This work was completed after the operative period 1933-45.

Dóra Maurer, Reversible & Changeable Phases of Movements No. 2, 1972

X74277
Reversible & Changeable Phases of Movements No. 2

1972
on paper, unique
Photographs, gelatin silver prints mounted on canvas
unconfirmed: 770 x 1030 mm unconfirmed, frame: 795 x 1050 x 30 mm
Private collection
Provenance:
The artist through Vintage Galéria; Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Dóra Maurer: Snapshots, exhibition catalogue, Museum Ritter Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, Waldenbuch 2014
Dóra Maurer: Traces 1970-1980, Dominik Art Projects Foundation, Krakow 2011
Dóra Maurer: Fotómunkák/Photoworks 1971-1993, exhibition catalogue, Vintage Galéria, Budapest 2007
Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008

This work was completed after the operative period 1933-45.

Dóra Maurer, Reversible & Changeable Phases of Movements No. 6, 1972

X74278
Reversible & Changeable Phases of Movements No. 6

1972
on paper, unique
Photographs, gelatin silver prints mounted on canvas
unconfirmed: 1000 x 700 mm unconfirmed, frame: 1020 x 720 x 30 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Dóra Maurer: 6 out of 5, exhibition catalogue, White Cube, London 2016
Parallel Oeuvres, Maurer – Gáyor, exhibition catalogue, Városi Művészeti Múzeum, Győr 2002
Dóra Maurer: Snapshots, exhibition catalogue, Museum Ritter Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, Waldenbuch 2014
Dóra Maurer: Fotómunkák/Photoworks 1971-1993, exhibition catalogue, Vintage Galéria, Budapest 2007
Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008

This work was completed after the operative period 1933-45.

Dóra Maurer, Schautafel 4, 1972

X74279
Schautafel 4

1972
relief
Acrylic, ink, wood and graphite on board
unconfirmed: 910 x 630 mm
Private Collection
Provenance:
The artist;
Purchased from the above through Vintage Galéria by a private collector, Budapest, 2004
Lender’s address: private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Parallel Oeuvres, Maurer – Gáyor, exhibition catalogue, Városi Művészeti Múzeum, Győr 2002
Dóra Maurer: Snapshots, exhibition catalogue, Museum Ritter Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, Waldenbuch 2014
Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008
This work was produced after the operative period 1933-45

Dóra Maurer, 5 out of 4, 1975

X74286
5 out of 4

1975
on paper, unique
5 works on paper, tempera
unconfirmed, each: 470 x 385 mm unconfirmed, frame: 480 x 395 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History: Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008

This work was completed after the operative period 1933-45.

Dóra Maurer, (De)Formation 2-2, 1976

X74287
(De)Formation 2-2

1976
painting
Drypoint on canvas
unconfirmed: 1100 x 830 mm
Vintage Galéria
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Maurer Gáyor, exhibition catalogue, Az István király Múzeum közleményei, Székesfehérvár 1976

This work was completed after the operative period 1933-45.

Dóra Maurer, (De)Formation 2-1, 1976

X74288
(De)Formation 2-1

1976
painting
Drypoint on canvas
unconfirmed: 830 x 830 mm
Vintage Galéria
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Maurer Gáyor, exhibition catalogue, Az István király Múzeum közleményei, Székesfehérvár 1976

This work was completed after the operative period 1933-45.

Dóra Maurer, Hidden Structures 1, 1979

X74275
Hidden Structures 1

1979
on paper, unique
Graphite on paper
unconfirmed, each: 650 x 500 mm unconfirmed, frame: 700 x 550 x 30 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Parallel Oeuvres, Maurer – Gáyor, exhibition catalogue, Városi Művészeti Múzeum, Győr 2002
Dóra Maurer: Snapshots, exhibition catalogue, Museum Ritter Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, Waldenbuch 2014
Printing / Leaving Traces – The Graphic Oeuvre of Dóra Maurer 1957–1981, exhibition catalogue, Hungarian University of Fine Art, Budapest 2017
Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008
This work was completed after the operative period 1933-45.

Dóra Maurer, 5 out of 4, 1979

X74280
5 out of 4

1979
painting
Acrylic on wood
unconfirmed: 1900 x 2400 mm
Private collection
Provenance:
Purchased from the above through Vintage Galéria by a private collector, Budapest, 2003
Lender’s address: private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:Parallel Oeuvres, Maurer – Gáyor, exhibition catalogue, Városi Művészeti Múzeum, Győr 2002
Dóra Maurer: Snapshots, exhibition catalogue, Museum Ritter Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, Waldenbuch 2014
Dóra Maurer: Traces 1970-1980, Dominik Art Projects Foundation, Krakow 2011
Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008
This work was produced after the operative period 1933-45.

Dóra Maurer, Sluices with Paper-Pulp, 1981

X74285
Sluices with Paper-Pulp

1981
relief
Paper, wood, glass
unconfirmed: 890 x 590 x 90 mm
Vintage Galéria
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary
Partial Exhibition History:
1984 Ernst Museum, Budapest
2001 Museum of Art, Győr
2008 Ludwig Museum, Budapest
This work was completed after the operative period 1933-45.

Dóra Maurer, Projected Quasi Image, 1988

X74283
Projected Quasi Image

1988
painting
3 paintings, acrylic on wood
unconfirmed, each: 1630 x 1300 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Dóra Maurer: Snapshots, exhibition catalogue, Museum Ritter Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, Waldenbuch 2014
Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008

This work was completed after the operative period 1933-45.

Dóra Maurer, Space Painting, 1984-1996

X74281
Space Painting

1984-1996
on paper, unique
Photographs, gelatin silver prints, gouache
unconfirmed, each: 1000 x 700 mm unconfirmed, frame: 1020 x 720 x 30 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History: Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008
This work was completed after the operative period 1933-45.

Dóra Maurer, Poplar, 1996

X74282
Poplar

1996
painting
Acrylic on wood
unconfirmed: 4400 x 950 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Dóra Maurer: Snapshots, exhibition catalogue, Museum Ritter Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, Waldenbuch 2014

This work was completed after the operative period 1933-45.

Dóra Maurer, Relative Quasi Image 1, 1996

X74284
Relative Quasi Image 1

1996
painting
5 paintings, acrylic on canvas and wood
unconfirmed, each: 1000 x 1000 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:
Parallel Oeuvres, Maurer – Gáyor, exhibition catalogue, Városi Művészeti Múzeum, Győr 2002
Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008

This work was completed after the operative period 1933-45.

Dóra Maurer, Overlappings 38, 2007

X74289
Overlappings 38

2007
painting
Acrylic on canvas and wood
unconfirmed: 910 x 2400 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary

Partial Publication History:Dóra Maurer: Snapshots, exhibition catalogue, Museum Ritter Marli Hoppe-Ritter-Stiftung zur Förderung der Kunst, Waldenbuch 2014
Dóra Maurer, exhibition catalogue, Ludwig Múzeum – Kortárs Mûvészeti Múzeum, Budapest 2008
This work was completed after the operative period 1933-45.

Dóra Maurer, Overlappings 45, 2010

X74290
Overlappings 45

2010
painting
Acrylic on canvas and wood
unconfirmed: 1230 x 1040 mm
Vintage Galéria
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary
Partial Exhibition History:
2010 Galeria Z, Bratislava
2014 Ritter Museum, Waldenbuch
2011 A22, Budapest
This work was completed after the operative period 1933-45.

Dóra Maurer, Overlappings 47 (Double-Double), 2012

X74291
Overlappings 47 (Double-Double)

2012
painting
Acrylic on canvas and wood
unconfirmed: 1170 x 1240 mm
Private collection
Provenance:
The artist through Vintage Galéria, Budapest
Nationality of artist: Hungarian
Identifying marks: None
Place of Manufacture: Budapest, Hungary
Partial Exhibition History:
2012 ArtMark Galerie, Vienna
2014 Ritter Museum, Waldenbuch
2015 Carl Kostyal, London
This work was completed after the operative period 1933-45.

William Blake: The Artist

Tate Britain (London, UK) from 11 Sep 2019 until 02 Feb 2020.

Robert Blake
(1762-1787, born: London, died: London)
William Blake
(1757-1827, born: London, died: London)

Robert Blake and William Blake, Sketchbook, 1777

X73662
Sketchbook

1777
on paper, unique
Pencil, red chalk, pen, watercolour
object: 330 x 216 x 19 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Thomas Stothard (?); … Sir Alexander Spearman; sold by Puttick’s and Simpson’s, 9 January 1878; George S. Hellman; sold by Anderson’s, 25 November 1919 (lot 51); from which purchased by George D. Smith for Henry E. Huntington
Nationality of the artist: British
Identifying marks: Inscribed several time on cover ‘Robert Blake 1777’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. R1

William Blake
(1757-1827, born: London, died: London)

William Blake, Moses Receiving the Law, c. 1780

X71201
Moses Receiving the Law

c. 1780
on paper, unique
Pen and black ink with gray wash, black wash and graphite
support: 660 x 311 mm frame: 916 x 750 x 28 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Mrs. Blake; Frederick Tatham, sold Sotheby’s, 29 April 1862, lot 167 (bt. M. Palser); Lt. Col. Francis Cunningham, sold Sotheby’s, 8-11 May 1876, lot 650 (bt. ‘Thomson’?); Theodore Lucas by 1906; Iolo Williams; by descent to Edward Williams; purchased by Paul Mellon through P and D Colnaghi, May 1967; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 111

William Blake, The Death of the Wife of the Biblical Prophet Ezekiel, circa 1785

X70786
The Death of the Wife of the Biblical Prophet Ezekiel

circa 1785
on paper, unique
Ink and wash over graphite on paper
support: 346 x 479 mm
Philidelphia Museum of Art: Gift of Mrs. William Thomas Tonner, 1964
Provenance:
Catherine Blake; Frederick Tatham, sold Sotheby’s 29 April 1862; bought by F. T. Palgrave, 1862; … Henry Willet, né Catt; … E. Parsons; sold to W. Graham Robertson, May 1906; sold Christie’s 22 July 1949 (lot 22); bought by Canon (Dean) Walter Hussey, 1949; sold Sotheby’s 19 April 1961 (lot 37); bought by Charles Sessler; sold to Mrs Williams T. Tonner;From whom acquired by the Philadelphia Museum of Art, 1964.
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 166

William Blake, Enoch Walked with God, circa 1780-1785

X77270
Enoch Walked with God

circa 1780-1785
on paper, unique
Pen, black ink, and watercolour over traces of pencil
image: 454 x 610 mm
Gift of Mr and Mrs. John W. Warrington, 1977.214
Provenance:
Bernard Quaritch, by May 1887; Francis William Bourdillon; Francis Bernard Bourdillon, 1921; sold Sotheby's, 14 Nov. 1934, lot 551; C. A. Stonehill; sold to John W. Warrington, 1935; from whom acquired by the Cincinnati Art Museum, 1977
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no.146

William Blake, There is no Natural Religion, Plate 10, '1 Mans Perceptions are not Bounded...', c.1788 (composition date); c.1794 (print date)

X73726
There is no Natural Religion, Plate 10, '1 Mans Perceptions are not Bounded...'

c.1788 (composition date); c.1794 (print date)
(no classification assigned)
Colour-printed relief etching
image: 134 x 105 mm plate: 60 x 41 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Catherine Blake; Frederick Tatham; sold Sotheby’s, 29 April 1862, lot 197; Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot. 3 (bt. Quaritch); William A. White; Francis W. Moffat; from whom purchased by Paul Mellon through Thomas J. Gannon, 12 June 1941; from whom acquired by the Yale Center for British Art, 1992
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue raisonné: Matthew Hargraves, ‘William Blake and Paul Mellon : the life of the mind’, Open Knowledge Foundation, New York, 2014, V 2557

William Blake, Leaf 1, recto: The Little Girl Lost (second plate) from 'Songs of Innocence'

Leaf 1, verso: The Little Girl Found (first plate) from 'Songs of Innocence', 1789; 1794 [hand coloured before]

X73688
Leaf 1, recto: The Little Girl Lost (second plate) from 'Songs of Innocence' Leaf 1, verso: The Little Girl Found (first plate) from 'Songs of Innocence'

1789; 1794 [hand coloured before]
on paper, unique
Relief etching printed in green ink, text strengthened with blue wash, and finished with watercolour
image: 188 x 137 mm frame: 580 x 432 x 29 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1988
Provenance:
… Sold Sotheby’s, 9 November 1964, lot 112; Alan G. Thomas; Raymond Lister; from whom acquired by the NGV in 1988
Nationality of the artist: British
Identifying marks: inscribed in pencil u.r.: 35; verso inscribed in pencil u.r.c.: 36
Place of manufacture: London
Catalogue Raisonné: Martin Butlin and Ted Gott, ‘William Blake in the Collection of the National Gallery of Victoria’, National Gallery of Victoria, Melbourne, 1989, no. 39 and 39b

William Blake, Tiriel Supporting the Dying Myrantana and Cursing his Sons, 1786–1789

X73723
Tiriel Supporting the Dying Myrantana and Cursing his Sons

1786–1789
on paper, unique
Pen and black ink with grey wash and watercolour
image: 187 x 273 mm frame: 392 x 519 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Mrs. Blake; Frederick Tatham; sold to Joseph Hogarth; sold Southgate and Barrett, June 7-30 1854, lot 643 (bt. ‘Morley’); Elhanan Bicknell; sold Christie’s, 1 May 1863, lot 387; bought by James Leathart; P.W. Leathart; Mrs. Leathart; sold Sotheby’s, 19 May 1958, lot 13; bought by Agnew and Sons for Gwen, Lady Melchett; sold Christie’s, 9 November 1971; where purchased by John Baskett for Paul Mellon; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 198.1

William Blake, Leaf 2, recto: The Divine Image from 'Songs of Innocence' 

Leaf 2, verso: Infant Joy from 'Songs of Innocence', 1789; 1794 [hand coloured before]

X75317
Leaf 2, recto: The Divine Image from 'Songs of Innocence' Leaf 2, verso: Infant Joy from 'Songs of Innocence'

1789; 1794 [hand coloured before]
on paper, unique
Relief etching printed in green ink, text strengthened with blue wash, and finished with watercolour
image: 188 x 137 mm frame: 580 x 432 x 29 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1988
Provenance:
… Sold Sotheby’s, 9 November 1964, lot 112; Alan G. Thomas; Raymond Lister; from whom acquired by the NGV in 1988
Nationality of the artist: British
Identifying marks: inscribed in pencil u.r.c.: 18; verso inscribed in u.r.c.: 25
Place of manufacture: London
Catalogue Raisonné: Martin Butlin and Ted Gott, ‘William Blake in the Collection of the National Gallery of Victoria’, National Gallery of Victoria, Melbourne, 1989, no. 39c and 39d

William Blake, Leaf 3, recto: A Cradle Song (1st plate) from 'Songs of Innocence'

Leaf 3, verso: A Cradle Song (2nd plate) from 'Songs of Innocence', 1789; 1794 [hand coloured before]

X75318
Leaf 3, recto: A Cradle Song (1st plate) from 'Songs of Innocence' Leaf 3, verso: A Cradle Song (2nd plate) from 'Songs of Innocence'

1789; 1794 [hand coloured before]
on paper, unique
Relief etching printed in green ink, text strengthened with blue wash, and finished with watercolour
image: 188 x 137 mm frame: 580 x 432 x 29 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1988
Provenance:
… Sold Sotheby’s, 9 November 1964, lot 112; Alan G. Thomas; Raymond Lister; from whom acquired by the NGV in 1988
Nationality of the artist: British
Identifying marks: inscribed in pencil u.r.c.: 16; verso inscribed in pencil u.r.c.: 17
Place of manufacture: London
Catalogue Raisonné: Martin Butlin and Ted Gott, ‘William Blake in the Collection of the National Gallery of Victoria’, National Gallery of Victoria, Melbourne, 1989, no. 39e and 39f

William Blake, Leaf 4, recto: The Little Boy Lost from 'Songs of Innocence'

Leaf 4, verso: The Little Boy Found from 'Songs of Innocence', 1789; 1794 [hand coloured before]

X75319
Leaf 4, recto: The Little Boy Lost from 'Songs of Innocence' Leaf 4, verso: The Little Boy Found from 'Songs of Innocence'

1789; 1794 [hand coloured before]
on paper, unique
Relief etching printed in green ink, text strengthened with blue wash, and finished with watercolour
image: 188 x 137 mm frame: 580 x 432 x 29 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1988
Provenance:
… Sold Sotheby’s, 9 November 1964, lot 112; Alan G. Thomas; Raymond Lister; from whom acquired by the NGV in 1988
Nationality of the artist: British
Identifying marks: inscribed in pencil u.r.c.: 13; verso inscribed in pencil u.r.c.: 14
Place of manufacture: London
Catalogue Raisonné: Martin Butlin and Ted Gott, ‘William Blake in the Collection of the National Gallery of Victoria’, National Gallery of Victoria, Melbourne, 1989, no. 39 g and 39h

William Blake, Leaf 5, recto: Nurse's Song, from 'Songs of Innocence'

Leaf 5, verso: On Another's Sorrow, from 'Songs of Innocence', 1789; 1794 [hand coloured before]

X75320
Leaf 5, recto: Nurse's Song, from 'Songs of Innocence' Leaf 5, verso: On Another's Sorrow, from 'Songs of Innocence'

1789; 1794 [hand coloured before]
on paper, unique
Relief etching printed in green ink, text strengthened with blue wash, and finished with watercolour
image: 188 x 137 mm frame: 580 x 432 x 29 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1988
Provenance:
… Sold Sotheby’s, 9 November 1964, lot 112; Alan G. Thomas; Raymond Lister; from whom acquired by the NGV in 1988
Nationality of the artist: British
Identifying marks: inscribed in pencil u.r.c.: 24
Place of manufacture: London
Catalogue Raisonné: Martin Butlin and Ted Gott, ‘William Blake in the Collection of the National Gallery of Victoria’, National Gallery of Victoria, Melbourne, 1989, no. 39i and 39j

William Blake, Leaf 6, recto: Holy Thursday from 'Songs of Innocence'

Leaf 6, verso: The Voice of the Ancient Bard from 'Songs of Innocence', 1789; 1794 [hand coloured before]

X75321
Leaf 6, recto: Holy Thursday from 'Songs of Innocence' Leaf 6, verso: The Voice of the Ancient Bard from 'Songs of Innocence'

1789; 1794 [hand coloured before]
on paper, unique
Relief etching printed in green ink, text strengthened with blue wash, and finished with watercolour
image: 188 x 137 mm frame: 580 x 432 x 29 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1988
Provenance:
… Sold Sotheby’s, 9 November 1964, lot 112; Alan G. Thomas; Raymond Lister; from whom acquired by the NGV in 1988
Nationality of the artist: British
Identifying marks: inscribed in pencil u.r.c.: 19; verso inscribed in pencil u.r.c.: 54
Place of manufacture: London
Catalogue Raisonné: Martin Butlin and Ted Gott, ‘William Blake in the Collection of the National Gallery of Victoria’, National Gallery of Victoria, Melbourne, 1989, no. 39k and 39l

William Blake, Leaf 7, recto: Spring, from 'Songs of Innocence'

Leaf 7, verso: The School-Boy, from 'Songs of Innocence', 1789; 1794 [hand coloured before]

X75322
Leaf 7, recto: Spring, from 'Songs of Innocence' Leaf 7, verso: The School-Boy, from 'Songs of Innocence'

1789; 1794 [hand coloured before]
on paper, unique
Relief etching printed in green ink, text strengthened with blue wash, and finished with watercolour
image: 188 x 137 mm frame: 580 x 432 x 29 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1988
Provenance:
… Sold Sotheby’s, 9 November 1964, lot 112; Alan G. Thomas; Raymond Lister; from whom acquired by the NGV in 1988
Nationality of the artist: British
Identifying marks: inscribed in pencil u.r.c.: 23; verso inscribed in pencil u.r.c.: 53
Place of manufacture: London
Catalogue Raisonné: Martin Butlin and Ted Gott, ‘William Blake in the Collection of the National Gallery of Victoria’, National Gallery of Victoria, Melbourne, 1989, no. 39m and 39n

William Blake, Verso: Female Figure with the Head of a Horse, circa 1785-1790

X73537
Verso: Female Figure with the Head of a Horse

circa 1785-1790
on paper, unique
Recto: Watercolour, black ink and graphite on cream laid paper. Verso: Graphite on paper.
image: 122 x 98 mm frame: 499 x 397 x 22 mm
Harvard Art Museums/Fogg Museum, Alpheus Hyatt Purchasing Fund
Provenance:
Horace Elisha Scudder, Boston, c.1860-91; Mrs. Ingersoll Bowdich, Jamaica Plain, by 1940; From whom acquired by the Fogg Art Museum, 1967
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 88

William Blake, Albion Rose, c. 1793

X70738
Albion Rose

c. 1793
on paper, print
Colour engraving and etching on paper with hand colouring
image: 250 x 211 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Possibly Dr James Curry, August 1797; Frederic Robert Halsey, by December 1915; From whom acquired as part of the Halsey collection by Henry E. Huntington, December 1915.
Nationality of the artist: British
Identifying marks: None
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no.284

William Blake, Frontispiece for "America a Prophecy", 1793

X73538
Frontispiece for "America a Prophecy"

1793
on paper, print
Colour relief etching on off white wove paper
image: 233 x 168 mm frame: 499 x 397 x 22 mm
Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund
Provenance:
Acquired in the late 19th century
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, For Children, 1793

X73727
For Children

1793
on paper, print
Etching and line engraving on moderately thick, slightly textured, cream wove paper.
137 x 114 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
John Henry Fuseli; Harriet Jane Moore, 1806; Julia Moore; George Heath; Mrs. M.C. Heath; sold Sotheby’s, 4 April 1949, lot 75; Raphael Kerig; C.A. Stonehill; Paul Mellon, 1949; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 15, 'What Time the Thirteen Governors...', 1793; c.1807

X73741
America. A Prophecy, Plate 15, 'What Time the Thirteen Governors...'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right, ‘13’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 1, Frontispiece, 1793; c.1807

X73742
America. A Prophecy, Plate 1, Frontispiece

1793; c.1807
on paper, unique
Colour-printed relief etching in brown with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 2, Title Page, 1793; c.1807

X73743
America. A Prophecy, Plate 2, Title Page

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 3, 'Preludium | The shadowy daughter....', 1793; c.1807

X73744
America. A Prophecy, Plate 3, 'Preludium | The shadowy daughter....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper centre ‘PRELUDIUM’ and in blue ink, upper right ‘1’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 4, 'Silent as despairing love....', 1793; c.1807

X73745
America. A Prophecy, Plate 4, 'Silent as despairing love....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right ‘2’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 5, 'A | Prophecy | The Guardian Prince of Albion....', 1793; c.1807

X73746
America. A Prophecy, Plate 5, 'A | Prophecy | The Guardian Prince of Albion....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue-gray ink, upper right ‘3’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 6, 'Appear to the Americans....', 1793; c.1807

X73747
America. A Prophecy, Plate 6, 'Appear to the Americans....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue-gray ink, upper right ‘4’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 7, 'Albions Angel stood....', 1793; c.1807

X73748
America. A Prophecy, Plate 7, 'Albions Angel stood....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue-gray ink, upper right ‘5’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 8, 'The Morning Comes....', 1793; c.1807

X73749
America. A Prophecy, Plate 8, 'The Morning Comes....'

1793; c.1807
on paper, unique
Colour-printed relief etching in green-black with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue-gray ink, upper right ‘6’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 9, 'In Thunders Ends the Voice....', 1793; c.1807

X73750
America. A Prophecy, Plate 9, 'In Thunders Ends the Voice....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue-gray ink, upper right ‘7’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 10, 'The Terror Answered....', 1793; c.1807

X73751
America. A Prophecy, Plate 10, 'The Terror Answered....'

1793; c.1807
on paper, unique
Colour-printed relief etching in green-black with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right ‘8’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 11, 'Sound! Sound! My Loud War-Trumpets....', 1793; c.1807

X73752
America. A Prophecy, Plate 11, 'Sound! Sound! My Loud War-Trumpets....'

1793; c.1807
on paper, unique
Colour-printed relief etching in green-black with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right ‘9’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 12, 'Thus Wept the Angel Voice....', 1793; c.1807

X73753
America. A Prophecy, Plate 12, 'Thus Wept the Angel Voice....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right ‘10’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 13, 'Fiery the Angels Rose....', 1793; c.1807

X73754
America. A Prophecy, Plate 13, 'Fiery the Angels Rose....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right ‘11’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 14, 'So Cried He....', 1793; c.1807

X73755
America. A Prophecy, Plate 14, 'So Cried He....'

1793; c.1807
on paper, unique
Colour-printed relief etching in green-black with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right ‘12’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 16, 'In the Flames Stood....', 1793; c.1807

X73756
America. A Prophecy, Plate 16, 'In the Flames Stood....'

1793; c.1807
on paper, unique
Colour-printed relief etching in green-black with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right ‘14’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 17, 'On Albions Angels....', 1793; c.1807

X73757
America. A Prophecy, Plate 17, 'On Albions Angels....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right ‘15’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, America. A Prophecy, Plate 18, 'Over the Hills....', 1793; c.1807

X73758
America. A Prophecy, Plate 18, 'Over the Hills....'

1793; c.1807
on paper, unique
Colour-printed relief etching in blue with pen and black ink and watercolour on paper
image: 368 x 267 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Richard Monckton Milnes, 1st Baron Houghton; Richard Offley Ashburton Milnes, The Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 3 (bought by Quaritch); William A. White; Francis W. Moffat; sold Sotheby’s, 19 May 1958, lot 5 (bought by Quaritch); Paul Mellon, 17 June 1958; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in blue ink, upper right ‘16’
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, Cancelled plate 'c' from America, a prophecy in Three cancelled plates from "America, a prophecy." Three unique plates with pencil corrections by Blake, bound in with six other plates from America, a prophecy., 1793

X77356
Cancelled plate 'c' from America, a prophecy in Three cancelled plates from "America, a prophecy." Three unique plates with pencil corrections by Blake, bound in with six other plates from America, a prophecy.

1793
on paper, unique
Printed in blue, brown, or green on 6 leaves, from engraved plates containing both text and illustrations.
object: 318 x 244 x 19 mm
Library of Congress. Lessing J. Rosenwald collection, 1805 (Rosenwald 1805)
Provenance:
George Smith; sold Christie’s, April 1880; Quaritch, by 1887; William Muir; B.B. Macgeorge; sold Sotheby’s, 1 July 1924, lot 133 (bt. ‘Parsons’); George C. Smith, Jr.; sold Parke-Bernet, 2 November 1938, lot 23; A.S.W. Rosenbach, 1938; Lessing J. Rosenwald; from whom acquired by the Library of Congress in 1979/80
Nationality of the artist: British
Identifying marks: numerous pencilled corrections and changes by Blake
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, The book of Urizen. First book of Urizen. Plate 14, 1794 [i.e. 1815?]

X77352
The book of Urizen. First book of Urizen. Plate 14

1794 [i.e. 1815?]
on paper, unique
Book. 28 leaves printed in yellow-brown on 27 plates containing both text and hand-coloured illustrations.
image: 152 x 105 mm object: 292 x 241 x 16 mm
Library of Congress. Lessing J. Rosenwald collection, 1807 (Rosenwald 1807)
Provenance:
Earl of Crewe; sold Sotheby’s, 30 March 1903, lot 6 (bt. ‘Quaritch’); William A. White; A.S.W. Rosenbach, 1929; Lessing J. Rosenwald; from whom acquired by the Library of Congress in 1979/80
Nationality of the artist: British
Identifying marks: ‘Ruse and Turners 1818’ watermark on several leaves
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, Europe, a prophecy. Plates 17/18 ('Ethinius queen of waters…'/ 'Shot from the heights of Enitharmon…'), 1794

X77354
Europe, a prophecy. Plates 17/18 ('Ethinius queen of waters…'/ 'Shot from the heights of Enitharmon…')

1794
on paper, unique
10 leaves printed in green, blue or brown, from engr. plates containing both text and illustrations. Hand-coloured.
image: 234 x 166 mm object: 378 x 270 x 12 mm
Libary of Congress. Lessing J. Rosenwald collection, 1806 (Rosenwald 1806)
Provenance:
Thomas Gaisford; sold Sotheby’s, 23 April 1890, lot 90 (bt. ‘Robson’); Alexander Mackay; widow of Alexander Mackay; sold Christie’s, 26 April 1921, lot 2 (bt. ‘Shoebridge’); A. Edward Newton, by 1922; sold Parke-Bernet, 16 April 1941, lot 129; A.S.W. Rosenbach, 1941; Lessing J. Rosenwald; from whom acquired by the Library of Congress in 1979/80
Nationality of the artist: British
Identifying marks: Bookplates of Thomas Gaisford and A. Edward Newton; watermark ‘I Taylor’ on one leaf
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, Europe a Prophecy, 1794, printed 1795

X73728
Europe a Prophecy

1794, printed 1795
(no classification assigned)
Color-printed relief etching in dark brown with pen and black ink, oil and watercolor on moderately thick, slightly textured, cream wove paper. Binding - brown moroco by Riviere and Son
image: 387 x 270 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Probably George Romney; John Romney; sold Christie’s, 9 May 1834, lot 86 (bt. ‘Tiffin’); Isaac D’Israeli, 1834; Benjamin D’Israeli, Earl of Beaconsfield, who removed some plates; sold Sotheby’s, 20 March 1882, lot 57; James Bain; Bernard Buchanan McGeorge, who reunited the plates by 1906; sold Sotheby’s, 1 July 1924, lot 116; Gabriel Wells; George C. Smith, Jr.; Parke-Bernet, November 1938, lot 26 (bt. Sessler); Moncure Biddle, from whom purchased through Thomas J. Gannon by Paul Mellon, 6 February 1948; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, Verso: The Poems of Thomas Gray, Design 106, 'Elegy Written in a Country Church-Yard', Between 1797 and 1798

X73733
Verso: The Poems of Thomas Gray, Design 106, 'Elegy Written in a Country Church-Yard'

Between 1797 and 1798
on paper, unique
Watercolour with pen and black ink and graphite on paper
image: 419 x 324 mm frame: 632 x 524 x 28 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Nancy Flaxman, 1797; sold Christie’s, 1 July 1828, lot 85 (bt. ‘Clarke’); William Beckford; Susan Beckford; by descent to Sir Douglas Douglas-Hamilton, 14th Duke of Hamilton; from whom purchased by Paul Mellon through Sotheby’s via private treaty, 1966; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: Inscribed in black ink, upper right ‘1’; on verso in black ink upper left, ‘2’; on verso, in black ink centre: ‘Elegy | 1. The author writing | 2. Contemplation among Tombs | 3. 'The Plowman homeward plods his weary way | And leaves the world to darkness & to me' | 4. 'For him no more the blazing hearth shall burn | Nor children run to lisp their sires return' | 5. 'Oft did the Harvest to their sickle yield' | 6. Chill penury repressd their noble rage' | 7. 'Some Village Hampden that with dauntless breast | The little Tyrant of his Fields withstood' | 8. 'Many a holy text around she strews' | 9. 'Some kindred spirit shall enquire thy fate | Haply some hoary headed swain may say | Oft &c' | 10. 'Slow thro the Churchway path we saw him borne' | 11. A Shepherd reading the Epitaph | 12. A Spirit conducted to Paradise’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 335.105-106

William Blake, Verso: The Poems of Thomas Gray, Design 108, 'Elegy Written in a Country Church-Yard', Between 1797 and 1798

X73734
Verso: The Poems of Thomas Gray, Design 108, 'Elegy Written in a Country Church-Yard'

Between 1797 and 1798
on paper, unique
Watercolour with pen and black ink and graphite on paper
image: 419 x 324 mm frame: 632 x 524 x 28 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Nancy Flaxman, 1797; sold Christie’s, 1 July 1828, lot 85 (bt. ‘Clarke’); William Beckford; Susan Beckford; by descent to Sir Douglas Douglas-Hamilton, 14th Duke of Hamilton; from whom purchased by Paul Mellon through Sotheby’s via private treaty, 1966; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: Inscribed in black ink, upper right ‘3’ and in graphite, centre ‘x’; on verso in black ink, upper left ‘4’ and in graphite, centre ‘x’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 335.107-108

William Blake, Verso: The Poems of Thomas Gray, Design 110, 'Elegy Written in a Country Church-Yard', Between 1797 and 1798

X73735
Verso: The Poems of Thomas Gray, Design 110, 'Elegy Written in a Country Church-Yard'

Between 1797 and 1798
on paper, unique
Watercolour with pen and black ink and graphite on paper
image: 419 x 324 mm frame: 632 x 524 x 28 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Nancy Flaxman, 1797; sold Christie’s, 1 July 1828, lot 85 (bt. ‘Clarke’); William Beckford; Susan Beckford; by descent to Sir Douglas Douglas-Hamilton, 14th Duke of Hamilton; from whom purchased by Paul Mellon through Sotheby’s via private treaty, 1966; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: Inscribed in black ink, upper right ‘5’ and in graphite, centre, "x"; on verso in black ink, upper left ‘6’ and in graphite, centre ‘x’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 335.109-110

William Blake, Verso: The Poems of Thomas Gray, Design 112, 'Elegy Written in a Country Church-Yard', Between 1797 and 1798

X73736
Verso: The Poems of Thomas Gray, Design 112, 'Elegy Written in a Country Church-Yard'

Between 1797 and 1798
on paper, unique
Watercolour with pen and black ink and graphite on paper
image: 419 x 324 mm frame: 632 x 524 x 28 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Nancy Flaxman, 1797; sold Christie’s, 1 July 1828, lot 85 (bt. ‘Clarke’); William Beckford; Susan Beckford; by descent to Sir Douglas Douglas-Hamilton, 14th Duke of Hamilton; from whom purchased by Paul Mellon through Sotheby’s via private treaty, 1966; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: Inscribed in black ink, upper right ‘7’ and in graphite, centre, "x"; on verso in black ink, upper left ‘8’ and in graphite, centre ‘x’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 335.111-112

William Blake, Verso: The Poems of Thomas Gray, Design 114, 'Elegy Written in a Country Church-Yard', Between 1797 and 1798

X73737
Verso: The Poems of Thomas Gray, Design 114, 'Elegy Written in a Country Church-Yard'

Between 1797 and 1798
on paper, unique
Watercolour with pen and black ink and graphite on paper
image: 419 x 324 mm frame: 632 x 524 x 28 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Nancy Flaxman, 1797; sold Christie’s, 1 July 1828, lot 85 (bt. ‘Clarke’); William Beckford; Susan Beckford; by descent to Sir Douglas Douglas-Hamilton, 14th Duke of Hamilton; from whom purchased by Paul Mellon through Sotheby’s via private treaty, 1966; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: Inscribed in black ink, upper right ‘9’ and in graphite, centre, "x"; on verso in black ink, upper left ‘10’ and in graphite, centre ‘+’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 335.113-114

William Blake, Verso: The Poems of Thomas Gray, Design 116, 'Elegy Written in a Country Church-Yard', Between 1797 and 1798

X73738
Verso: The Poems of Thomas Gray, Design 116, 'Elegy Written in a Country Church-Yard'

Between 1797 and 1798
on paper, unique
Watercolour with pen and black ink and graphite on paper
image: 419 x 324 mm frame: 632 x 524 x 28 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Nancy Flaxman, 1797; sold Christie’s, 1 July 1828, lot 85 (bt. ‘Clarke’); William Beckford; Susan Beckford; by descent to Sir Douglas Douglas-Hamilton, 14th Duke of Hamilton; from whom purchased by Paul Mellon through Sotheby’s via private treaty, 1966; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: Inscribed in black ink, upper right ‘11’; on verso in black ink, upper left ‘12’, and in grey ink, centre ‘To M.rs Ann Flaxman | A little Flower grew in a lonely Vale | Its form was lovely. but its colours pale | One standing in Porches of the Sun | When his Meridian Glories were begun | Leapd from the steps of fire & on the grass | Alighted where this little flower was | With hands divine he movd the gentle Sod | And took the Flower up in its native Clod | Then planting it upon a Mountains brow | 'Tis your own fault if you dont flourish now | (underlined) William Blake’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 335.115-116

X78166
Verso: The Poems of Thomas Gray, Design 2, 'Ode on the Spring'

1797-1798
on paper, unique
Watercolor with pen and black ink and graphite on moderately thick, slightly textured, cream wove paper with inlaid letterpress page
support: 419 x 324 mm frame: 632 x 524 x 28 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Nancy Flaxman, 1797; sold Christie’s, 1 July 1828, lot 85 (bt. ‘Clarke’); William Beckford; Susan Beckford; by descent to Sir Douglas Douglas-Hamilton, 14th Duke of Hamilton; from whom purchased by Paul Mellon through Sotheby’s via private treaty, 1966; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: Inscribed in graphite, centre ‘Drawings | by | William Blake’; on verso, in grey ink, upper left ‘2’; in grey ink, upper centre ‘Ode on the Spring | Design. | 1 The Pindaric Genius receiving his Lyre | 2 Gray writing his Poems | 3 The Purple Year awaking from the Roots of | Nature. &amp; The Hours suckling their | Flowery Infants | 4 'With me the Muse shall sit &amp; think | at ease reclind in rustic state' | 5. 'Brush'd by the hand of rough Mischance | Or chill'd by Age' | 6. Summer Flies reproaching the Poet | Around the Springs of Gray my wild root weaves | Traveller repose &amp; Dream among my leaves. | - Will. Blake’; and in graphite centre: ‘<...> | <Brush'd by the hand of | rough mischance or Chill'd by Age | Summer Flies reproaching the Poet>’, Signed in graphite, verso: ‘Will.Blake’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 335.1-2

William Blake, Lucifer and the Pope in Hell, circa 1794-1796

X73663
Lucifer and the Pope in Hell

circa 1794-1796
on paper, unique
Etching or engraving colour printed with gum or glue based pigments and hand finished with watercolours, pen and ink on paper
image: 199 x 274 mm frame: 435 x 587 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Frederick Tatham(?); sold Sotheby’s, 29 April 1862; bought by Francis Harvey; George A. Smith, by 1876; sold Christie’s, 16 July 1880 (lot 101); bought by John Pearson; Thomas Glen Arthur, by 1890; sold Christie’s, 20 March 1914 (lot 52); bought by Frank T. Sabin; Robson and Co., sold to Sessler’s, July 1923; from whom acquired by Henry E. Huntington, August 1923
Nationality of the artist: British
Identifying marks: None
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 287

William Blake, The Conversion of Saul, circa 1800

X73665
The Conversion of Saul

circa 1800
on paper, unique
Pen and watercolour on paper
image: 409 x 358 mm frame: 663 x 511 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Thomas Butts; Thomas Butts jun., sold Sotheby’s, 26 March 1852, lot 152; to Colnaghi’s; Lt.-Col. Francis Cunningham, sold Sotheby’s, 8-11 May 1876, lot 651; bought by Noseda; Theodore Irwin; by descent Theodore Irwin jun.; from whom acquired by Henry E. Huntington, 1919
Nationality of the artist: British
Identifying marks: signed ‘WB inv’ in monogram bottom left and inscribed ‘Acts IX c. 6 v’ bottom right
Place of manufacture: Felpham?
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 506

William Blake, Samson Subdued, circa 1800

X73708
Samson Subdued

circa 1800
on paper, unique
Ink and watercolour over graphite on paper
support: 391 x 352 mm
Philadelphia Museum of Art: Gift of Mrs. William Thomas Tonner, 1964
Provenance:
Commissioned by Thomas Butts; Thomas Butts, Jr., 1845; Frederick J. Butts, 1862; sold Sotheby's, 24 June 1903, lot 6 (unsold); widow of F. J. Butts, 1905; W. Graham Robertson, April 1906; sold Christie's, 22 July 1949, lot 13; bought by Thomas Agnew and Sons, 1949; sold to David Eccles; sold to Mrs. William T. Tonner, November 1956; rom whom acquired by the Philadelphia Museum of Art, 1964
Nationality of the artist: British
Identifying marks: ‘WB inv’ monogram bottom right; verso, ‘Judg Ch. 16. V. 19’ and ‘No. 3’.
Place of manufacture: Felpham?
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 455

William Blake, Songs of Innocence, plate 5: 'The Shepherd', circa 1795

X73724
Songs of Innocence, plate 5: 'The Shepherd'

circa 1795
on paper, unique
Colour-printed relief etching with pen and black ink and watercolour
image: 76 x 64 mm frame: 392 x 519 x 25 mm
Yale Center for British Art, Paul Mellon Fund
Provenance:
Acquired from Somerville and Simpson, 1977 by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 262A

William Blake, Songs of Innocence, plate 22: 'Spring', Headpiece, circa 1795

X73725
Songs of Innocence, plate 22: 'Spring', Headpiece

circa 1795
on paper, unique
Colour-printed relief etching with pen and black ink and watercolour
image: 48 x 70 mm frame: 392 x 519 x 25 mm
Yale Center for British Art, Paul Mellon Fund
Provenance:
Acquired from Somerville and Simpson, 1977 by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: ‘R.’ inscribed in graphite, verso, lower right
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 262B

William Blake, Milton, a poem in 12 [i.e. 2] books. Plate 40 ('When on his highest life …'), 1804

X77355
Milton, a poem in 12 [i.e. 2] books. Plate 40 ('When on his highest life …')

1804
on paper, unique
Printed in orange on 50 leaves, from plates containing both text and illustrations. Hand colored.
image: 141 x 102 mm object: 289 x 235 x 25 mm
Library of Congress. Lessing J. Rosenwald collection, 1810 (Rosenwald 1810)
Provenance:
Godfrey Windus; by descent, the Rev. G.P. de Putron; sold Sotheby’s, 11 December 1923, lot 252 (bt. ‘Pickering’); Frank B. Bemis; A.S.W. Rosenbach, by 1939; Lessing J. Rosenwald; from whom acquired by the Library of Congress in 1979/80
Nationality of the artist: British
Identifying marks: numerous pencilled corrections and changes by Blake
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, Death of the Strong Wicked Man, 1805

X02946
Death of the Strong Wicked Man

[La Mort du mauvis homme] 1805
on paper, unique
Ink, watercolour and graphite on paper
support: 202 x 255 mm
Paris, Musée du Louvre, Department of Arts graphiques
Provenance:
Sotheby's New York, 2 May 2006; Bought by the Societe des Amis du Louvre, from whom acquired by the musee du Louvre, 2006
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, The Death Chamber, possible sketch for &quot;Jerusalem&quot;, circa 1800-1807

X73539
The Death Chamber, possible sketch for "Jerusalem"

circa 1800-1807
on paper, unique
Red chalk on cream antique laid paper
image: 165 x 230 mm frame: 397 x 499 x 22 mm
Harvard Art Museum/Fogg Museum, Gift of Meta and Paul J. Sachs
Provenance:
Samuel Palmer; A. H. Palmer; Tregaskis, offered 1893; T. Mackenzie Fowler, sold Sotheby's, December 16, 1912, lot 96 (bt. Parsons); C. Bellingham Smith; Colnaghi’s, London, 1929; Meta and Paul J. Sachs, Cambridge, by 1930; from whom acquired by the Fogg Art Museum, 1959
Nationality of the artist: British
Identifying marks: watermark: fragment of coat-of-arms; inscription, lower left, graphite, ‘Original Drawing by William Blake. S. P.’; inscription, lower right, graphite: Fixed; inscription on the verso, lower left, graphite: Blake The Death Chamber / [illegible text] Samuel Palmer [?]; inscription on the verso, lower right, graphite: Hand [illegible text] 13 1/9 x 11 No. 316.
Place of manufacture: London/Felpham
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 565

William Blake, The Great Red Dragon and the Beast from the Sea, circa 1805

X73685
The Great Red Dragon and the Beast from the Sea

circa 1805
on paper, unique
Ink with watercolour over graphite on paper
support: 548 x 440 mm mount: 711 x 559 mm frame: 770 x 618 x 44 mm
National Gallery of Art, Washington, Rosenwald Collection, 1943
Provenance:
Commissioned by Thomas Butts, c. 1803-05; Thomas Butts, Jr., 1845; sold Sotheby's, 26 June 1852, lot 164 (to "Fuller"); H. A. J. Munro; sold Christie's, 24 April 1868, lot 497 (to "Kibble"); Marsden J. Perry, by 1905; sold to W. A. White, 1908; sold to Lessing J. Rosenwald, 1929; from whom acquired by the National Gallery of Art, 1945
Nationality of the artist: British
Identifying marks: lower right, WB inv
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 521

William Blake, Moses Striking the Rock, 1805

X73709
Moses Striking the Rock

1805
on paper, unique
Watercolour over graphite on paper
support: 365 x 303 mm
Philadelphia Museum of Art: On loan from the Evangelical Lutheran Church in America, the gift of Florence Foerderer Tonner in memory of her dear parents, Robert H. Foerderer and Caroline Fischer Foerderer
Provenance:
Commissioned by Thomas Butts in 1805; Thomas Butts, Jr, by inheritance, 1845; sold Foster and Son, London, 29 June 1853, lot 108; bought by Henry G. Bohn; sold Robson and Co. to W. Graham Robertson, 1904; sold Christie's, 22 July 1949, lot 9; bought by Thomas Agnew and Sons; sold to Alan D. Rofe; Thomas Agnew and Sons by 1964; sold to Charles Sessler, December 1964; sold to Mrs. William T. Tonner; bequeathed to Lutheran Church in America, 1971; on deposit at the Philadelphia Museum of Art since at least 1995
 
Nationality of the artist: British
Identifying marks: ‘WB inv [in monogram] 1805’ in bottom right
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 445

William Blake, The Number of the Beast is 666, circa 1805

X73715
The Number of the Beast is 666

circa 1805
on paper, unique
Pen and watercolour on paper
image: 412 x 335 mm frame: 914 x 775 x 64 mm
The Rosenbach, Philadelphia
Provenance:
c.1805
on paper, unique
Pen and watercolour on paper
image: 412 x 335 mm
Rosenbach Museum and Library, Philadelphia
Provenance:
Commissioned and acquired from Blake by Thomas Butts c. 1805; by inheritance in 1845 to Thomas Butts, Jr.; sold anonymously, Sotheby's, 26 June 1852, lot 163 (£1.1s. to "Fuller," possibly a dealer, who still owned the work in 1863); Hugh Andrew Johnstone Munro; his estate or heirs by 1864; sold Christie's, 24 April 1868, lot 496 (£2.15s. to "Kibble," probably a dealer, possibly acting for Marsden J. Perry); sold by Perry in 1908 to William Augustus White; by inheritance to his son, Harold T. White, in 1927; sold to the dealer A. S. W. Rosenbach in 1950; bequeathed by Rosenbach to the Rosenbach Museum and Library in 1952 and accessioned by the Museum in 1954
Nationality of the artist: British
Identifying marks: n/a
Place of manufacture: London
Catalogue Raisonné: Butlin 522

William Blake, A Title Page for 'The Grave', 1806

X73678
A Title Page for 'The Grave'

1806
on paper, unique
Ink and blue watercolour on paper
image: 238 x 200 mm mount: 348 x 275 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Robert Cromek; his son, Thomas Hartley Cromek, until at least 1865; Bernard Buchanan Macgeorge, by 1892; sold Sotheby’s, 1 July 1924 (lot 123); bought by Francis Edwards; Francis Edwards until at least December 1924; Mrs. George Millard; George Clinton Ward; Mrs. Louise Ward Watkins, by 1936; Keith Spalding; from whom acquired by the Huntington Library, July 1946
Nationality of the artist: British
Identifying marks: Inscribed on backing sheet ‘Drawing by Blake for title to Blairs Grave not published’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 616

William Blake, Landscape with Spire, circa 1801

X73759
Landscape with Spire

circa 1801
on paper, unique
Graphite on medium, slightly textured, cream laid paper
image: 156 x 225 mm frame: 392 x 519 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Frederick Tatham; Quaritch; L.G. Duke; purchased by Paul Mellon through P and D Colnaghi and Sons, April 1961; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: Inscribed in brown ink, lower left ‘drawn by William Blake | vouched by | Fred […] Tatham’; on the verso in graphite, lower right ‘No. 13.’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 371

William Blake, A Woody Landscape, circa 1801

X73760
A Woody Landscape

circa 1801
on paper, unique
Watercolour and graphite on medium, slightly textured, cream laid paper
image: 149 x 229 mm frame: 392 x 519 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Frederick Tatham; Quaritch; Graham Robertson; L.G. Duke; purchased by Paul Mellon through P and D Colnaghi and Sons, April 1961; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in brown ink, lower right ‘By Wm. Blake | vouched by F. Tatham’; on verso, inscribed in graphite, lower right ‘D. 1827’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 372

William Blake, Illustration 1 to Milton's 'Paradise Lost': Satan Calling Up His Legions, 1807

X73666
Illustration 1 to Milton's 'Paradise Lost': Satan Calling Up His Legions

1807
on paper, unique
Ink and watercolour on paper
image: 250 x 211 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 77); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: signed lower right ’18 [trimmed off]/WB’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.1

William Blake, Satan Comes to the Gates of Hell, 1807

X73667
Satan Comes to the Gates of Hell

1807
on paper, unique
Ink and watercolour on paper
image: 247 x 208 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 78); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: Signed lower right ‘W Blake’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.2

William Blake, Illustration 3 to Milton's 'Paradise Lost': Christ Offers to Redeem Man, 1807

X73668
Illustration 3 to Milton's 'Paradise Lost': Christ Offers to Redeem Man

1807
on paper, unique
Ink and watercolour on paper
image: 257 x 209 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 79); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: Signed lower right ‘180 [cut off]/ WB’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.3

William Blake, Illustration 4 to Milton's 'Paradise Lost': Satan Spying on Adam and Eve and Raphael's Descent into Paradise, 1807

X73669
Illustration 4 to Milton's 'Paradise Lost': Satan Spying on Adam and Eve and Raphael's Descent into Paradise

1807
on paper, unique
Ink and watercolour on paper
image: 251 x 209 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 81); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: Signed lower left ‘W Blake 1807’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.4

William Blake, Illustration 5 to Milton's 'Paradise Lost': Satan Watching the Endearments of Adam and Eve, 1807

X73670
Illustration 5 to Milton's 'Paradise Lost': Satan Watching the Endearments of Adam and Eve

1807
on paper, unique
Ink and watercolour on paper
image: 257 x 218 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 80); bought by Gray; J. Annan Bryce by 1904; from whom acquired by Henry E. Huntington, 1914
Nationality of the artist: British
Identifying marks: Signed lower right ‘W Blak’ (trimmed)
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.5

William Blake, Illustration 6 to Milton's 'Paradise Lost': Raphael Warns Adam and Eve, 1807

X73671
Illustration 6 to Milton's 'Paradise Lost': Raphael Warns Adam and Eve

1807
on paper, unique
Ink and watercolour on paper
image: 257 x 209 mm frame: 587 x 435 x 35 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 83); bought by Gray; J. Annan Bryce by 1904; from whom acquired by Henry E. Huntington, 1914
Nationality of the artist: British
Identifying marks: Signed lower left on Eve’s chair ‘W Blake’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.6

William Blake, Illustration 7 to Milton's 'Paradise Lost': The Rout of the Rebel Angels, 1807

X73672
Illustration 7 to Milton's 'Paradise Lost': The Rout of the Rebel Angels

1807
on paper, unique
Ink and watercolour on paper
image: 288 x 208 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 82); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: Signed lower right ‘W Blake’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.7

William Blake, Illustration 8 to Milton's 'Paradise Lost': The Creation of Eve, 1807

X73673
Illustration 8 to Milton's 'Paradise Lost': The Creation of Eve

1807
on paper, unique
Ink and watercolour on paper
image: 253 x 208 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 84); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: Signed lower right ‘1807 / WB’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.8

William Blake, Illustration 9 to Milton's 'Paradise Lost': The Temptation and Fall of Eve, 1807

X73674
Illustration 9 to Milton's 'Paradise Lost': The Temptation and Fall of Eve

1807
on paper, unique
Ink and watercolour on paper
image: 254 x 208 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 85); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: Signed lower right ‘1807 / WB’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.9

William Blake, &quot;So Judged He Man&quot;, 1807

X73675
"So Judged He Man"

1807
on paper, unique
Ink and watercolour on paper
image: 250 x 202 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 86); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: Signed lower right ‘W Blake’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.10

William Blake, Illustration 11 to Milton's 'Paradise Lost': Michael Foretells the Crucifixion, 1807

X73676
Illustration 11 to Milton's 'Paradise Lost': Michael Foretells the Crucifixion

1807
on paper, unique
Ink and watercolour on paper
image: 252 x 203 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 87); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: signed lower right ‘1807 / WB’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.11

William Blake, Illustration 12 to Milton's 'Paradise Lost': The Expulsion, 1807

X73677
Illustration 12 to Milton's 'Paradise Lost': The Expulsion

1807
on paper, unique
Ink and watercolour on paper
image: 249 x 205 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
Rev. Joseph Thomas; by descent to Drummond Percy Chase; sold Sotheby’s, 2 August 1872 (lot 156); bought by Ellis and Green; Alfred Aspland, by 1876; sold Sotheby’s, 27 January 1885 (lot 88); bought by Pincott; Sidney Style, sold Sotheby’s, 15 December 1906 (lot 481); bought by Frank T. Sabin; Rosenbach Company; from whom acquired by Henry E. Huntington, 1911
Nationality of the artist: British
Identifying marks: Signed lower left ‘1807 / WB’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 529.12

William Blake, Mary Magdalene at the Sepulchre, circa 1805

X73730
Mary Magdalene at the Sepulchre

circa 1805
on paper, unique
Pen, ink and watercolour on paper
image: 427 x 311 mm frame: 519 x 392 x 25 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Thomas Butts; sold Sotheby’s, 26 March 1852, lot 155; bought by F.J. Palgrave; Lady Beatrix Maud Cecil, 1883; The Mount Trust Collection; sold Christie’s, June 5 1973, lot 42; where purchased by Paul Mellon through Thomas Agnew and Sons; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: inscribed in black ink, lower right, circled ‘inv | WB’; in graphite, lower centre ‘W. Blake del’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 504

William Blake, The Horse, circa 1805

X73731
The Horse

circa 1805
painting
Tempera with pen and black ink on a copper engraving plate
image: 106 x 64 mm frame: 191 x 152 x 38 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
George Blamire; sold Christie’s, 7-9 November 1863, lot 138; bought by Henry George Bohn; Upholland College, Wigan; sold Christie’s, 27 October 1961, lot 43; bought by P and D Colnaghi and Co for Paul Mellon; from whom bequeathed to the Yale Center for British Art, 10 September 1999
Nationality of the artist: British
Identifying marks: verso engraved with foliage, grass, etc., practice strokes
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 366

William Blake, Old Parr When Young, 1820

X73679
Old Parr When Young

1820
on paper, unique
Graphite on laid paper
support: 298 x 368 mm frame: 587 x 435 x 38 mm
The Huntington Library, Art Collections, and Botanical Gardens
Provenance:
John Linnell; Trustees of the Linnell estate; sold Christie’s, 15 March 1918 (lot 165); E. Parsons; sold to Charles Sessler, June 1920; from whom acquired by Henry E. Huntington, 5 September 1923
Nationality of the artist: British
Identifying marks: Inscribed lower right ‘Aug 1820 / W. Blake fect’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 748

William Blake, The Creation of Eve, 1822

X73690
The Creation of Eve

1822
on paper, unique
Pen and brown and black ink and watercolour over pencil and black chalk, with stippling
image: 504 x 407 mm frame: 820 x 690 x 35 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1920
Provenance:
John Linnell; sold Christie’s, 15 March 1918, lot 152; from whom acquired by the NGV in 1918
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 537.2

William Blake, Evening, circa 1820-1825

X73686
Evening

circa 1820-1825
painting
Watercolour and chalk on wood
overall: 918 x 297 mm frame: 1011 x 387 x 57 mm
National Gallery of Art, Washington, Gift of Mr. and Mrs. Gordon Hanes, in Honor of the 50th Anniversary of the National Gallery of Art, 1990.22.1
Provenance:
Rev. John Johnson; Canon Cowper Johnson; Bertram R. Vaughan Johnson; his widow; Rev. B. Talbot Vaughan Johnson; the Vaughan Johnson Trust; sold Sotheby's, 18 July 1979, no. 59; bought by Mr. and Mrs. Gordon Hanes, Winston-Salem, North Carolina; gift 1990 to NGA
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 809

William Blake, Verso: Jerusalem, plate 35, proof impression, circa 1820

X73740
Verso: Jerusalem, plate 35, proof impression

circa 1820
on paper, unique
Relief etching with pen and black ink and watercolour on medium, smooth wove paper
image: 111 x 159 mm frame: 524 x 632 x 28 mm
Yale Center for British Art, Paul Mellon Collection
Provenance:
Catherine Blake; Frederick Tatham, probably c.1831; George Blamire; sold Christie’s, 8 November 1863, lot 213 (bt. Daniels); William Fuller Maitland; sold Christie’s, June 1887, lot 225; Bernard Quartich; Gen. Archibald Stirling, c.1893; Col. William Stirling; sold through Scribner’s to Thomas J. Gannon, 1952; Paul Mellon, 5 February 1953; from whom acquired by the Yale Center for British Art
Nationality of the artist: British
Identifying marks: none
Place of manufacture: London
Catalogue Raisonné: n/a

William Blake, Capaneus the Blasphemer, 1824-1827

X73694
Capaneus the Blasphemer

1824-1827
on paper, unique
Pen and ink and watercolour over pencil and black chalk, with sponging and scratching out
image: 374 x 527 mm frame: 695 x 820 x 35 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1920
Provenance:
John Linnell; sold Christie’s, 15 March 1918, lot 148; purchased via the National Art Collections Fund and acquired by the NGV in 1918
Nationality of the artist: British
Identifying marks: signed ‘WB’ and inscribed ‘HELL Canto 14’ in ink, bottom left; on verso in pencil, top right, ‘43’, top corner ‘N 27 next at p 83’, the same erased in the centre, and, along the right-hand edge ’43 Hell Canto 17’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 812.27

William Blake, The Symbolic Figure of the Course of Human History described by Virgil, 1824-1827

X73695
The Symbolic Figure of the Course of Human History described by Virgil

1824-1827
on paper, unique
Pen and ink and watercolour over pencil, with sponging
image: 527 x 373 mm frame: 820 x 695 x 35 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1920
Provenance:
John Linnell; sold Christie’s, 15 March 1918, lot 148; purchased via the National Art Collections Fund and acquired by the NGV in 1918
Nationality of the artist: British
Identifying marks: inscribed 'HELL Canto 14 in ink, bottom left, and 'Hell Canto 14 the Italian ...' in pencil, erased, top left; on verso in pencil '54' top right, 'No 12 next at p ['14' erased] 6' top corner, 'No 12 next at p 14' in centre, and 'Hell Canto 7' along the right-hand edge
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 812.28

William Blake, The Devils setting out with Dante and Virgil, 1824-1827

X73697
The Devils setting out with Dante and Virgil

1824-1827
on paper, unique
Pen and ink and watercolour over pencil and traces of black chalk
image: 372 x 528 mm frame: 695 x 820 x 35 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1920
Provenance:
John Linnell; sold Christie’s, 15 March 1918, lot 148; purchased via the National Art Collections Fund and acquired by the NGV in 1918
Nationality of the artist: British
Identifying marks: inscribed ‘HELL Canto 21’ in ink, bottom right corner; on verso in pencil, top right, ‘52’, top corner ‘N 45 next at p 77’, and, along the right-hand edge, partly erased ’Hell Canto 25 Cacus’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 812.39

William Blake, The Thieves and the Serpents, 1824-1827

X73698
The Thieves and the Serpents

1824-1827
on paper, unique
Pen and ink and watercolour over pencil and black chalk, with sponging
image: 372 x 528 mm frame: 695 x 820 x 35 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1920
Provenance:
John Linnell; sold Christie’s, 15 March 1918, lot 148; purchased via the National Art Collections Fund and acquired by the NGV in 1918
Nationality of the artist: British
Identifying marks: inscribed ‘HELL Canto 24’ in ink, bottom right; on verso in pencil, bottom corner, ‘74 No 47 next at p 73’, the same erased in the centre, and, in the top corner, erased 'Canto 25'
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 812.47

William Blake, Vanni Fucci 'making Figs' against God, 1824-1827

X73699
Vanni Fucci 'making Figs' against God

1824-1827
on paper, unique
Pen and ink and watercolour over pencil and traces of black chalk, with sponging
image: 527 x 372 mm frame: 820 x 695 x 35 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1920
Provenance:
John Linnell; sold Christie’s, 15 March 1918, lot 148; purchased via the National Art Collections Fund and acquired by the NGV in 1918
Nationality of the artist: British
Identifying marks: inscribed ‘HELL Canto 25’ in ink, bottom left; on verso in pencil, top right, ‘34’, and along the right-hand margin 'Pg Canto 9'
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 812.49

William Blake, The Six-Footed Serpent attacking Agnello Brunelleschi, 1824-1827

X73700
The Six-Footed Serpent attacking Agnello Brunelleschi

1824-1827
on paper, unique
Pen and ink and watercolour over pencil and black chalk, with sponging
image: 373 x 527 mm frame: 695 x 820 x 35 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1920
Provenance:
John Linnell; sold Christie’s, 15 March 1918, lot 148; purchased via the National Art Collections Fund and acquired by the NGV in 1918
Nationality of the artist: British
Identifying marks: inscribed ‘HELL Canto 25’ in ink and 'line 45' in pencil, bottom right; on verso in pencil, bottom left, ‘76’, bottom corner ‘N 42 next at p 95’, the same erased in the centre, and along the right-hand edge, erased, 'Vanni Fucci Hell Canto 24’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 812.51

William Blake, Ephialtes and two other Titans, 1824-1827

X73702
Ephialtes and two other Titans

1824-1827
on paper, unique
Pen and ink and watercolour over black chalk and pencil
image: 373 x 527 mm frame: 695 x 820 x 35 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1920
Provenance:
John Linnell; sold Christie’s, 15 March 1918, lot 148; purchased via the National Art Collections Fund and acquired by the NGV in 1918
Nationality of the artist: British
Identifying marks: inscribed ‘HELL Canto 31’ in ink, bottom left; on verso in pencil, top right, ‘46’, top corner ‘N o 60 next at p 65’, the same erased in the centre, and, along the right-hand edge ’Hell Canto 32’
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 812.62

William Blake, The Lawn with the Kings and Angels, 1824-1827

X73704
The Lawn with the Kings and Angels

1824-1827
on paper, unique
Pen and ink and watercolour over black chalk and traces of pencil, with sponging
image: 373 x 527 mm frame: 690 x 820 x 35 mm
National Gallery of Victoria, Melbourne Felton Bequest, 1920
Provenance:
John Linnell; sold Christie’s, 15 March 1918, lot 148; purchased via the National Art Collections Fund and acquired by the NGV in 1918
Nationality of the artist: British
Identifying marks: inscribed ‘P-g- Canto 7 &amp; 8' in ink bottom corner and, '8' in pencil, erased top right; on verso in pencil '33' top right, 'N 44 next a p 52' top corner, the same erased in the centre, and 'Vanni Fucci Hell Canto 25' along the right-hand edge
Place of manufacture: London
Catalogue Raisonné: Martin Butlin, ‘The Paintings and Drawings of William Blake’, Yale University Press, New Haven and London, 1981, no. 812.76

William Blake, Songs of Innocence and Experience, Bound circa 1830

X73508
Songs of Innocence and Experience

Bound circa 1830
(no classification assigned)
54 relief etched plates on 54 leaves, hand-colored with watercolor, with come gold, bound in calfskin
support: 181 x 126 mm
Cincinnati Art Museum, Gift of Mr. and Mrs. John J. Emery, 1969.509:1-54
Provenance:
Probably Sotheby’s, 7 August 1890 (lot 2171); Maggs Brothers; Mrs. John R. Wade, New York, 1905; Beverly Chew; Anderson’s, 8 December 1924 (lot 29); Rosenbach; John J. Emery; from whom acquired by the Cincinnati Art Museum, 1969
Nationality of the artist: British
Identifying marks: J Whatman 1808 watermark on page 27; watermark on verso of first flyleaf
Place of manufacture: London

Catalogue Raisonné: n/a