Dora Maar

Tate Modern (London, UK) from 20 Nov 2019 until 15 Mar 2020.

Cecil Beaton
(1904-1980)

Cecil Beaton, Dora Maar behind one of her works, in her studio at 6 rue de Savoie, Paris, 1944

X76627
Dora Maar behind one of her works, in her studio at 6 rue de Savoie, Paris

[Dora Maar derrière une de ses oeuvres, dans son atelier du 6 rue de Savoie, Paris] 1944
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 91 x 65 mm mount: 405 x 530 mm frame: 585 x 460 x 30 mm
Musée national Picasso-Paris Achat par préemption en 1998, ancienne collection Dora Maar. MP1998-304
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Acquired by the current owner, Musée national Picasso-Paris, as pre-emptive buyer before the Dora Maar estate sales of October-December 1998
Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France

Exhibition History:
Selected Literature:
This work has a complete provenance for the period 1933-1945.

Brassaï
(1899-1984, born: Brasov, died: Beaulieu)

Brassaï, Dora Maar presenting a painting in her studio at rue de Savoie in 1944, 1944

X77564
Dora Maar presenting a painting in her studio at rue de Savoie in 1944

[Dora Maar présentant une toile dans son atelier rue de Savoie, en 1944] 1944
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 225 x 335 mm mount: 405 x 530 mm frame: 460 x 585 x 30 mm
Musée national Picasso-Paris Achat en 1996. MP1996-310
Provenance:
The Artist;
Thence by descent to Gilberte Brassaï [b. 1920, d. 2005];
Purchased by the current owner, Musée national Picasso-Paris in 1996

Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France

Exhibition history

Selected literature

This work has a complete provenance for the period 1933-1945.

Dora Maar
(1907-1997, born: Paris, died: Ménerbes)

Dora Maar, Untitled (Self Portrait),

X76976
Untitled (Self Portrait)


on paper, print
4 photographs, gelatin silver prints on paper
unconfirmed: 60 x 150 mm
Archive Dora Maar, Coutersy ADD & Associes
Provenance:
The Artist;
Thence by descent to the heirs of Dora Maar [d. 1997];
ADD Associés, as representatives of the heirs of Dora Maar, by 1998

Lender’s address: Private collection, c/o Matthew Gale, Head of Displays Tate Modern

Nationality of the artist: French
Identifying Marks:
Place of Manufacture:

Exhibition History:
Selected literature:

This work has a complete provenance for the period 1933-1945.

Dora Maar, Abstract Composition,

X78022
Abstract Composition


on paper, unique
Oil monotype on paper
unconfirmed: 210 x 270 mm frame: 353 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Abstract Composition,

X78023
Abstract Composition


on paper, unique
Oil monotype on paper
unconfirmed: 210 x 270 mm frame: 353 x 433 x 30 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Abstract Composition,

X78024
Abstract Composition


on paper, unique
Oil monotype on paper
unconfirmed: 210 x 270 mm frame: 353 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Untitled (Self portrait),

X78737
Untitled (Self portrait)


on paper, print
3 photographs, gelatin silver prints on paper
unconfirmed: 60 x 150 mm
Archive Dora Maar, Coutersy ADD & Associes
Provenance:
The Artist;
Thence by descent to the heirs of Dora Maar [d. 1997];
ADD Associés, as representatives of the heirs of Dora Maar, by 1998

Lender’s address: Private collection, c/o Matthew Gale, Head of Displays Tate Modern

Nationality of the artist: French
Identifying Marks:
Place of Manufacture:

Exhibition History:
Selected literature:

This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Self portrait),

X78738
Untitled (Self portrait)


on paper, print
4 photographs, gelatin silver prints on paper
unconfirmed: 60 x 150 mm
Archive Dora Maar, Coutersy ADD & Associes
Provenance:
The Artist;
Thence by descent to the heirs of Dora Maar [d. 1997];
ADD Associés, as representatives of the heirs of Dora Maar, by 1998

Lender’s address: Private collection, c/o Matthew Gale, Head of Displays Tate Modern

Nationality of the artist: French
Identifying Marks:
Place of Manufacture:

Exhibition History:
Selected literature:

This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Self portrait),

X78740
Untitled (Self portrait)


on paper, print
4 photographs, gelatin silver prints on paper
unconfirmed: 60 x 150 mm
Archive Dora Maar, Coutersy ADD & Associes
Provenance:
The Artist;
Thence by descent to the heirs of Dora Maar [d. 1997];
ADD Associés, as representatives of the heirs of Dora Maar, by 1998

Lender’s address: Private collection, c/o Matthew Gale, Head of Displays Tate Modern

Nationality of the artist: French
Identifying Marks:
Place of Manufacture:

Exhibition History:
Selected literature:

This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled, c.1930

X74127
Untitled

c.1930
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 264 x 239 mm frame: 472 x 423 x 35 mm
The Museum of Modern Art, New York. Horace W. Goldsmith Fund through Robert B. Menschel
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar, Paris;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 179
Acquired by the current owner, Museum of Modern Art, New York
Lender’s address: Museum of Modern Art, 11 W 53rd St, New York, NY 10019, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris p. 156
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 92
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (As seen through the aquariums on the Quai de la Mégisserie), c. 1930

X74130
Untitled (As seen through the aquariums on the Quai de la Mégisserie)

c. 1930
on paper, print
Photograph, gelatin silver print, ferrotyped
unconfirmed: 203 x 183 mm frame: 530 x 430 x 30 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.78
Provenance:
The Artist;
Thence by descent to the estate of the artist;
Sale Le Photographies de Dora Maar, une Histoire des ɶuvres, 20 November 1998, Paris lot 181
Acquired by David Raymond;
From whom acquired by the Cleveland Museum of Art through the John L. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Haus der Kunst October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala May 21-July 15, 2002
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 84
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p.157
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 pl. 218; mentioned: pp. 335
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography: the David Raymond Collection in the Cleveland Museum of Art. 2014. Reproduced: p. 117, no. 75; mentioned: pp. 222.
This work has a complete provenance for the period 1933-45.

Dora Maar, Self-portrait with Fan, c.1930

X74214
Self-portrait with Fan

[Autoportrait au ventilateur] c.1930
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 112 x 68 mm frame: 585 x 460 x 30 mm mount: 530 x 405 mm
Musée national Picasso-Paris Achat par préemption en 1998, ancienne collection Dora Maar. MP1998-247
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 002 [1]
Acquired by the current owner Musée national Picasso-Paris, as pre-emptive buyer at the above sale
Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France
Exhibition History:


Selected Literature:
[1] Picard Audap Solanet & Associés, Millon & Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 19
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Carousel at night), c. 1931

X74068
Untitled (Carousel at night)

c. 1931
on paper, print
Photograph, gelatin silver print, ferrotyped
unconfirmed: 250 x 198 mm frame: 530 x 430 x 30 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.79
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 180
Acquired by David Raymond;
From whom acquired by the Cleveland Museum of Art through the John L. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar: Bataille, Picasso, et les Surréalistes. Haus der Kunst October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala May 21-July 15, 2002
Dora Maar: Photographer, Dorsky Gallery, Long Island, USA April 25 – June 28, 2004
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 83
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris p. 157
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 p.101, pl.57; mentioned: p.322
Combalia, Victoria Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2002, p.85, no.56; mentioned: p.265
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography: the David Raymond Collection in the Cleveland Museum of Art. 2014. Reproduced: p. 111, no. 69; reproduced and mentioned: p. 222

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

Dora Maar, Untitled, 1932

X74785
Untitled

1932
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 340 x 290 mm frame: 524 x 447 x 35 mm
The Museum of Modern Art, New York. Gift of Agnes Gund
Provenance:
The Artist;
Thence by descent to Estate of the artist, Paris;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 113
Acquired by the current owner, Museum of Modern Art, New York
Lender’s address: Museum of Modern Art, 11 W 53rd St, New York, NY 10019, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature: Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris p.91

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

Dora Maar, Woman with three children in front of Somorrostro Barracks, 1933

X73972
Woman with three children in front of Somorrostro Barracks

[Femme avec trois enfants devant baraques en planches pres de la zone] 1933
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 610 x 438 mm frame: 630 x 502 x 20 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale "Les Photographies de Dora Maar, une histoire des ɶuvres", 20 November 1998, Paris, Lot 089.
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: PIASA wet stamp "DM 1998"
Place of Manufacture: Paris, France
Exhibition History:
Dora Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala, May 21-July 15, 2002
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p.74, Illustrated p.75
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001, pl. 108
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Children playing, Barcelona), 1933

X73977
Untitled (Children playing, Barcelona)

1933
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 304 x 241 mm frame: 580 x 480 x 33 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.71
Provenance:
The Artist;
Thence by descent to the estate of the artist;
Sale Le Photographies de Dora Maar, une histoire des ɶuvres, 20 November 1998, Paris Lot 88
Acquired by David Raymond
From whom acquired by the Cleveland Museum of Art through the John L. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: Dora Maar estate stamp on verso of print: DM/1998
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar: Bataille, Picasso, et les Surréalistes. Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala, May 21-July 15, 2002
Dora Maar: Photographer. Dorsky Gallery, April 25-June 28, 2004
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015
Dora Maar, Centre Pompidou, Paris, 05 June-29 July, 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 72, Illustrated p. 73
Maar, Dora. Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2000 Reproduced: p. 88, no. 59; mentioned: pp. 265
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 Reproduced: p. 102, pl. 60; mentioned: pp. 323
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014. Mentioned: p. 101; reproduced: p. 109; mentioned: p. 223
[NB. incorrectly referenced in backmatter as lot 088 in 19 November 1999 estate sale catalogue]
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 74, p. 68

This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (The grimace), 1933

X73981
Untitled (The grimace)

1933
on paper, print
Photograph, gelatin silver print on paper, ferrotyped
unconfirmed: 283 x 229 mm frame: 530 x 428 x 32 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.88
Provenance:
The Artist;
From whom acquired by Galerie 1900-2000 in 1991, in their procession until at least 2002;
David Raymond, New York;
From whom acquired by the Cleveland Museum of Art through the John L. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: Purple stamp on verso of print: MENTION OBLIGATOIRE / DORA MAAR
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Fotógrafa. Centre Cultura Bancaixa, January 1-March 31, 1995
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala May 21-July 15, 2002
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer) October 19, 2014-January 11, 2015
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Maar, Dora. Dora Maar, fotoìgrafa: [exposicioìn] Centre Cultural Bancaixa, enero-marzo 1995. [Valencia]: Bancaja, Obra Social, 1995. Reproduced: p. 83, no. 23; mentioned: pp. 157
Combaliìa Dexeus, Victoria. Pariìs y los surrealistas. Bilbao: Museo de Bellas Artes de Bilbao, 2005. Reproduced: p. 174
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001. Reproduced: p. 89, pl. 46; mentioned: pp. 321
Maar, Dora. Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2000. Reproduced: p. 73, no. 44; mentioned: pp. 265
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014. Reproduced: p. 118, no. 76; mentioned: pp. 223

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

Dora Maar, Untitled (The "Zone", Paris), 1933

X73997
Untitled (The "Zone", Paris)

[Façade délabréed'une baraque "Réparation de pianos"] 1933
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 240 x 267 mm frame: 435 x 560 x 40 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 017 (one of three photographs);
Acquired by the current owner, a private collector
Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Verso - PIASA wet stamp DM 1998
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 74
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p. 22, Illustrated p. 21
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Boy on his back, asleep in front of storefront iron shutter, Barcelona), 1933

X74078
Untitled (Boy on his back, asleep in front of storefront iron shutter, Barcelona)

[Garcon couche sur le dos, dormant devant le rideau de fer d'un magasin] 1933
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 435 x 565 mm frame: 530 x 602 x 25 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
From whom acquired by the current owner, a private collector at PIASA, at sale titled "Les Photographies de Dora Maar, une histoire des ɶuvres", 20 November 1998, Paris, Lot 073
Lender’s address: Private collection c/o Matthew Gale, Head of Display, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Barcelona, Spain
Exhibition History:
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala, May 21-July 15, 2002
Selected Literature:
Picard Audap Solanet and Associés, Million and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p.62, Illustrated p.63
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 pl. 103
Baring, Louise, and Dora Maar Dora Maar: Paris in the Time of Man Ray, Jean Cocteau, and Picasso New York, NY : Rizzoli International Publications, Inc., 2017 reproduced p.99.
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 73, p. 68
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Street orchestra, blind musicians, Barcelona), 1933

X74087
Untitled (Street orchestra, blind musicians, Barcelona)

1933
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 400 x 300 mm frame: 631 x 530 x 32 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.89
Provenance:
The Artist;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 069;
Acquired by Edwynn Houk Gallery (in their possession until at least 2002);
From whom acquired by David Raymond;
From whom acquired by the Cleveland Museum of Art through the John L. Severance Fund; in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d'Art Tecla Sala, May 21-July 15, 2002
Dora Maar: Photographer. Dorsky Gallery, April 25-June 28, 2004
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 56
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p.58, Illustrated p.59
Maar, Dora. Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2000. Reproduced: p. 61, no. 35; mentioned: pp. 265 Caws, Mary Ann. Dora Maar without and without Picasso. A Biography. Thames and Hudson Ltd, London, 2000. Reproduced p. 44
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 Reproduced: p. 75, no. 36; mentioned: pp. 321
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography: the David Raymond Collection in the Cleveland Museum of Art. 2014. Reproduced: p. 100; mentioned p. 101; mentioned: p. 224; reproduced: p. 225
Tani, Ellen Y., and Amanda Cachia. Second sight: the paradox of vision in contemporary art. Brunswick, Maine: Bowdoin College Museum of Art; New York, New York: Scala Arts & Heritage Publishers Inc., 2018 Reproduced and mentioned: p. 19, fig. 7

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

Dora Maar, Headstand, Barcelona, 1933

X74096
Headstand, Barcelona

1933
on paper, print
Photograph, gelatin silver print on paper, ferrotyped
unconfirmed: 242 x 179 mm frame: 582 x 478 x 35 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.86
Provenance:
The Artist;
Thence by descent to the estate of the artist;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 088 (one of two photographs)
Acquired by David Raymond, New York;
From whom acquired by the Cleveland Museum of Art through the John L. Severance Fund; in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Barcelona, Spain
Exhibition History:
Dora Maar: Photographer. Dorsky Gallery, April 25-June 28, 2004
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015
Selected Literature:
Picard Audap Solanet & Associés, Millon & Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 72, Illustrated p. 73
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography: the David Raymond Collection in the Cleveland Museum of Art. 2014. Reproduced: p. 108, no. 66; mentioned: pp. 223
Baring, Louise. Dora Maar. Paris in the Time of Man Ray, Jean Cocteau and Picasso, Rizzoli International Publications, 2017, Reproduced p. 85
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Beggar Woman, Barcelona), 1933

X74097
Untitled (Beggar Woman, Barcelona)

1933
on paper, print
Photograph, gelatin silver print on paper, ferrotyped
unconfirmed: 310 x 240 mm frame: 480 x 378 x 33 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.83
Provenance:
The Artist;
….
Sale TAJAN Photographies des 19e et 20e siècles, 18 November 2000, lot 345; Acquired David Raymond, New York;
From whom acquired by the Cleveland Museum of Art through the John L. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: Written in black ink on verso: "522 DM" and "Mediante Barcelone", Black stamp on verso of print: KÉFER-DROA MAAR MENTION OBLIGATOIRE and 45 bis BD. RICHARD-WALLACE/NEUILLY-SUR-SEINE , purple stamp on verso of print: Edition "Tilleul" Paris
Place of Manufacture: Paris, France
Exhibition History:
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015

Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014. Reproduced: p. 38, no. 13; reproduced and mentioned: p. 101, pp. 266.
This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Dora Maar, Untitled (Blind street peddler, Barcelona), 1933

X75893
Untitled (Blind street peddler, Barcelona)

[Mendiant aveugle (Mendigo ciego)] 1933
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 412 x 312 mm frame: 632 x 530 x 32 mm
The Cleveland Museum of Art, Gift of David Raymond 2008.173
Provenance:
The Artist;
Thence by descent to the estate of the artist;
Sale Les Photographies de Dora Maar, une histoire des ɶuvres, 20 November 1998, Paris, Lot 83
Acquired by Galerie Michelle Chomette;
From whom acquired by David Raymond (by 2002);
By whom gifted to the current owner, the Cleveland Museum of Art
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Barcelona, Spain
Exhibition History:
Dora Maar: Œuvres anciennes (Old works), Galerie 1900–2000, Paris, July 10–27, 1990
Dora Maar, Fotógrafa, Centro Cultura Bancaixi January 1-March 31, 1995
Dora Maar, Haus der Kunst October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala May 21-July 15, 2002
Dora Maar: Photographer, Dorsky Gallery April 25-June 28, 2004
Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy. Palmer Museum of Art (September 14-December 5, 2004); McMullen Museum of Art, Boston College, MA January 16-March 27, 2005; Crocker Art Museum, Sacaramento, CA July 9-September 11, 2005; Portland Museum of Art January 1-March 19, 2006
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer) October 19, 2014-January 11, 2015
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Maar, Dora. Dora Maar, fotoìgrafa: [exposicioìn] Centre Cultural Bancaixa, enero-marzo 1995. [Valencia]: Bancaja, Obra Social, 1995. Reproduced: p. 72
Picard Audap Solanet & Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 68
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001, p. 72, pl. 35; mentioned: pp. 320
Schaffner, Ingrid, Julien Levy, and Colin Westerbeck. Accommodations of Desire: Surrealist Works on Paper Collected by Julien Levy. Pasadena, Calif: Curatorial Assistance, Inc, 2004. Mentioned: p. 123Maar, Dora. Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2002, Reproduced: p. 58, no. 34; mentioned: pp. 264. Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Combalia, Victoria. Dora Maar, La Femme Inivisble, Circe Ediciones, Barcelona. 2013
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014. Mentioned: p. 101; reproduced: p. 103; Mentioned: pp. 223
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p.57, pl.59
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Assia), c. 1934

X73922
Untitled (Assia)

[Assia en Masque Blanc Suspendue] c. 1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 343 x 140 mm frame: 660 x 540 x 40 mm
Collection of David Raymond, North Carolina
Provenance:
The Artist;
Thence by descent to estate of the artist, Paris;
PIASA, "Les Photographies de Dora Maar, une histoire des ɶuvres", 20 November 1998, Paris, Lot 058;
From whom acquired by Collection Premiere Heure [1];
Phillips New York, "Photographs", April 24 2003, Lot 021.
From whom acquired by the current owner, Collection David Raymond, North Carolina
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala May 21-July 15, 2002
Dora Maar, Dorsky Gallery, New-York, April 25 – June 28, 2004
Dora Maar, Tecla Sala, Spain and Galerie de la Vie Marseille, 2002
Begierde im Blick, Surrealistische Photographie, Hamburger Kunsthalle, Hamburg, 2005
Twilight Visions, Surrealism and Paris, Frist Center for the Arts, Nashville; ICP, New York and Telfair Museum of Art, Georgia, 2009-2010
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Secrets de Paris, n9, January 1935 (illustrated)
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une histoire des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p.53
Caws, Mary Ann Dora Maar with and without Picasso, Thames and Hudson, London, 2000 p. 34
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 Pl. 146
Baring, Louise, and Dora Maar Dora Maar: Paris in the Time of Man Ray, Jean Cocteau, and Picasso New York, NY : Rizzoli International Publications, Inc., 2017 reproduced p. 62
Dora Maar, La fotografia, Picasso y los Surrealistas, Barcelona. Centre Cultural Tecla Sala exhibition catalogue, 2002. Reproduced p.188
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 pl. 46, p. 44

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

Dora Maar, Untitled (Jacqueline Lamba), c. 1934

X73932
Untitled (Jacqueline Lamba)

c. 1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 303 x 248 mm frame: 324 x 268 x 14 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the heirs of Dora Maar [d. 1997]; [1]
By sale in 2015 to the current owner, a private collector
[1] In Haus der Kunst catalogue, Pl. 119, from 2002 listed as "private collection, Rennes".

Note: Another print of same image circulated at Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, dimensions 22.7x16.5cm, Lot 073


Lenders address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of the artist: French

Identifying marks: none

Place of manufacture: unknown

Exhibition history
Exposición Surrealista, Ateneo de Santa Cruz, Teneriffa, 1935
Women on the Edge. Twenty Photographers in Europe, 1919-1939, Malibu, Paul J. Getty Museum, 1993
Las mujeres artistas y el surrealismo, Fundacion Museo Picasso Malaga, Oct 10 2017 - Jan 28 2018
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 35, p.35
Las mujeres artistas y el surrealismo, Nova Era Publications, Barcelona, 2017, pl. 89, p. 229
Baring, Louise, and Dora Maar Dora Maar: Paris in the Time of Man Ray, Jean Cocteau, and Picasso New York, NY, Rizzoli International Publications, Inc., 2017 reproduced p.124.
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 Pl. 119

This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Child with coat on his head), 1932-4

X73969
Untitled (Child with coat on his head)

1932-4
on paper, print
Photograph, gelatin silver print on paper
support: 295 x 230 mm frame: 660 x 560 x 40 mm
Private Collection
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 086
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: London, United Kingdom
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 70
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p.70, pl. 76
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Four men on a park bench, London), 1934

X73993
Untitled (Four men on a park bench, London)

1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 250 x 230 mm frame: 435 x 560 x 40 mm
Collection of David Raymond, North Carolina
Provenance:
The Artist;
Thence by descent to Estate of the artist, Paris;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 93 (one of eight photographs);
Acquired by Collection of David Raymond, North Carolina
[Note: an edition of the print with different dimensions: 23.5 x 29 cm, 24 x 29.7 cm support]
was sold at Le Photographies de Dora Maar, une Histoire des ɶuvres, PIASA, 20 November 1998 (Page 92, Lot 116)
Lender’s address: Private collection, c/o Matthew Gale, Head of Display, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: London, UK
Exhibition History:
Dora Maar, Dorsky Gallery, New-York, April 25 – June 28, 2004
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 58
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Group of workers waiting on a sidewalk for pay or canteen, Paris), c. 1934

X73995
Untitled (Group of workers waiting on a sidewalk for pay or canteen, Paris)

c. 1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 262 x 238 mm frame: 560 x 433 x 40 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 028 (one of two photographs);
Acquired by the current owner, a private collector
Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Verso - PIASA wet stamp DM 1998
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 59
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p. 27, Illustrated p. 28
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Woman with baby in front of astrology booth, Paris), c.1934

X73998
Untitled (Woman with baby in front of astrology booth, Paris)

c.1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 180 x 110 mm frame: 422 x 322 x 30 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 016 (one of three photographs);
Acquired by the current owner, a private collector
Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Verso - PIASA wet stamp "DM 1999"
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 71
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p. 22

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

Dora Maar, Untitled (Ragpicker), c.1934

X74018
Untitled (Ragpicker)

c.1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 400 x 296 mm frame: 610 x 500 mm
The Museum of Modern Art, New York. Horace W. Goldsmith Fund through Robert B. Menschel
Provenance:
The Artist;
Thence by descent to Estate of the artist, Paris;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 084
Acquired by the current owner, Museum of Modern Art, New York
Lender’s address: Museum of Modern Art, 11 W 53rd St, New York, NY 10019, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris p.69
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 66

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

Dora Maar, Untitled (Strange fountain), c. 1934

X74040
Untitled (Strange fountain)

[Etrange fontaine] c. 1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 219 x 160 mm frame: 550 x 450 x 15 mm
Private Collection
Provenance:
The Artist;
From whom acquired by Christian Bouqueret (b. 1950, d. 2013) in 1985;
From whom acquired by the current owner, a private collector, in 2008.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Picasso and the Camera, Gagosian Gallery, New York 28 Oct 2014 – 03 Jan 2015
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Combalia, Victoria Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2002, p.11, mentioned: p.146
Richardson, John et al. Picasso and the Camera, Gagosian Gallery New York, 2014, p. 221
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 pl.123, p.117

This work has a complete provenance for the period 1933-1945.

Dora Maar, Medically Unfit, 1934

X74055
Medically Unfit

1934
on paper, print
Photograph, gelatin silver print on paper, ferrotyped
unconfirmed: 182 x 227 mm frame: 378 x 480 x 31 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.75
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 093 (one of eight photographs);
Acquired by David Raymond;
From whom acquired by the Cleveland Museum of Art through the John L. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer) October 19, 2014-January 11, 2015
Dora Maar, Centre Pompidou, Paris, 05 June-29 July, 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p.68 [titled: deux hommes chantant pres d’un bus]
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014. Reproduced: p. 39, no. 14; reproduced and mentioned: pp. 224
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Disabled war veteran begging beside miniature tin boat, London), 1934

X74063
Untitled (Disabled war veteran begging beside miniature tin boat, London)

1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 293 x 397 mm frame: 662 x 540 x 40 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 028 (one of two photographs);*
Acquired by the current owner, a private collector
*Other print of the same image sold found in Drouot sales catalogue Le Photographies de Dora Maar, une historie des ɶuvres 20 Nov 1999 [Page 68 Lot 094]
Lender’s address: Private collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: London, United Kingdom
Exhibition History:
Dora Maar: Photographer, Dorsky Gallery, Long Island, USA April 25 – June 28, 2004
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 62
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p. 27
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001, pl. 50 (separate print of the same image)
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004

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

Dora Maar, Untitled (Repent for the Kingdom of Heaven is at hand, London), 1934

X74065
Untitled (Repent for the Kingdom of Heaven is at hand, London)

1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 243 x 180 mm frame: 504 x 378 x 40 mm
The J. Paul Getty Museum, Los Angeles
Provenance:
The Artist;
Thence by descent to the Estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 082;
Acquired by David Raymond, New York;
By whom gifted to the J. Paul Getty Museum in 2002
Lender’s address: J. Paul Getty Museum 1200 Getty Center Drive, Los Angeles, CA 90049-1679
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: London, United Kingdom
Exhibition History:
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala, May 21-July 15, 2002
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 66

Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001, pl. 42
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 pl.70, p. 65

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

Dora Maar, Untitled (Kew Gardens, London), 1934

X74104
Untitled (Kew Gardens, London)

1934
on paper, print
Photograph, gelatin silver print, ferrotyped
unconfirmed: 305 x 240 mm frame: 530 x 430 x 30 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.76
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 087 (1 of 9 photographs)
Acquired by David Raymond;
From whom acquired by Cleveland Museum of Art through the John F. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: Written in red pencil on verso: "Kew Garden"
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala (May 21-July 15, 2002)
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris, p.66 [potentially one of four prints from a series titled: quatre photographies des plantes tropicales]
Maar, Dora. Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2000. Reproduced: p. 106, no. 76; mentioned: pp. 266
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001, Reproduced: p. 124, pl. 78; mentioned: pp. 324
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 97, pl. 107
This work has a complete provenance for the period 1933-45.

Dora Maar, Shampooing (Shampoo), or Femme aux cheveux avec savon (Woman's hair with soap), 1934

X74702
Shampooing (Shampoo), or Femme aux cheveux avec savon (Woman's hair with soap)

[Etude publicitaire (Pétrole Hahn)] 1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 288 x 394 mm mount: 430 x 467 mm frame: 645 x 795 x 40 mm
Collection Société Française de Photographie, Paris
Provenance:
The Artist;
From whom gifted to the Société Française de la Photographie, Paris in 1934
Lender’s address: Collection Société Française de Photographie, 71, rue de Richelieu
75002 Paris, France
Nationality of the artist: French
Identifying Marks: Signed "KÉFER-DORA MAAR" 45 Boulevard Richard-Wallace, Neuilly-sur-Seine
Exhibition History:
XXIXe Salon international d'art photographique, Société française de photographie et la cinématographie, 51 rue de Clichy, Paris 6 - 21 October, 1934
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
XXIXe Salon international d'art photographique 1934, Paris : Société française de photographie et de cinématographie, 1934, pg. 36

Revue française de photographie et de cinématographie, Paris "Illustrations du XXIXe Salon international de la photographie:" no. 357(November 1, 1934): 330

Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 pl. 36, p. 187, p. 193
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (No alms, I want work, London), 1934

X74709
Untitled (No alms, I want work, London)

1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 393 x 296 mm frame: 640 x 565 x 40 mm
Collection Privée, Paris
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 075
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala, May 21-July 15, 2002
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p.64, Illustrated p. 65
Caws, Mary Ann Dora Maar with and without Picasso, Thames & Hudson, London, 2000 p. 45
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 pl. 45
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Pearly princess, London), 1934

X75331
Untitled (Pearly princess, London)

1934
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 305 x 240 mm frame: 472 x 405 x 20 mm
From the Collection of Annastacia Wollmering, New York, NY
Provenance:
The Artist;
Thence by descent to the Estate of Dora Maar [d.1997];
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot095
[titled: Pearls’ Queen le Jour de L’Empire Day, no dimensions given] ;
OR Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot078 [titled: Pearl’s Queen le Jour de l’Empire Day, dimensions 29 x 23cm]

Private Collection, New York (by 2014);
Sale "Photographs" Signature Auction, Heritage Auctions, New York, Saturday, April 5, 2014,
Lot 74004
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Artist's stamp twice in left mount margin with 'Peerless Queen' in red pencil recto; artist's stamp verso
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 68, p.64

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

Dora Maar, The Cloister, South Gallery, 1934-5

X73889
The Cloister, South Gallery

[Le Cloitre, Galerie Sud] 1934-5
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 173 x 126 mm mount: 299 x 241 mm frame: 374 x 297 x 30 mm
The Museum of Fine Arts, Houston, Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund, The Manfred Heiting Collection, 2002.266
Provenance:

The artist;
from whom acquired by the Galerie 1900-2000, Paris in 1991;
from whom acquired by Manfred Heiting on 3 April 1995;
from whom acquired by the current owner, Museum of Fine Arts Houston in 2002
Lender’s address: 1001 Bissonnet St, Houston, TX 77005, USA
Nationality of the artist: French
Identifying marks: Stamped on verso of print: KÉFER-DROA MAAR MENTION OBLIGATOIRE and 45 bis BD. RICHARD-WALLACE/NEUILLY-SUR-SEINE
Place of manufacture: Paris, France

Exhibtion History

Dora Maar - Fotógrafa, Centre Cultural, Banxaixa, Valencia, Spain, January– March, 1995
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature

Maar, Dora Dora Maar, fotoigrafa exhibtion Centre Cultural Bancaiza, 1995. Bancaja, Obra Social, 1995. Reproduced p. 133

Combalia, Vicotira. Dora Maar: fotografa. Valencia: Bancaja, 1995. Plate 74.

This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Photograph for advertisement), c. 1935

X73894
Untitled (Photograph for advertisement)

c. 1935
on paper, unique
Gelatin silver print and gouache on paper
unconfirmed: 334 x 245 mm frame: 560 x 435 x 40 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 036 (one of two photographs);
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: PIASA wet stamp "DM 1999"
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar: Photographer, Dorsky Gallery, Long Island, USA April 25 – June 28, 2004
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris p. 40, Illustrated p. 41
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p.37


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

Dora Maar, Untitled (Fashion study), 1935

X73915
Untitled (Fashion study)

1935
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 298 x 235 mm frame: 495 x 381 x 30 mm
Richard and Ellen Sandor Family Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar [d.1997];
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 129 129 (Portrait de profil avec effet de chapeau", dimensions 29.3 x 23.8cm);
OR Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 045 ("Portrait de profil avec effet de chapeau", dimensions: 29.5 x 23.7cm);
Private collection, New York;
Sale Swann Galleries, Photographs, Tuesday 27th April 1999, Lot 362;
Acquired by the current owner, a private collector
Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: PIASA wet stamp "DM 1998"
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Element of Fashion Photomontage), 1935, printed 1980s

X73956
Untitled (Element of Fashion Photomontage)

1935, printed 1980s
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 230 x 170 mm frame: 560 x 443.5 x 40 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 053;
Acquired by the current owner, a private collector
Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: PIASA wet stamp "DM 1999"
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar: Photographer, Dorsky Gallery, Long Island, USA April 25 – June 28, 2004
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p. 47, Illustrated p. 46
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 22
This work has a complete provenance for the period 1933-45.

Dora Maar, Portrait of René Crevel, 1930-5

X74015
Portrait of René Crevel

[Portrait de René Crevel à Contrejour de Trois-quarts, Accoude sur le Dosseret d'un Fateuil en Rotin] 1930-5
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 291 x 227 mm frame: 525 x 425 x 30 mm
The Museum of Fine Arts, Houston, Gift of Anne Wilkes Tucker in honor of Louisa Stude Sarofim, 2000.668
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 138;
Acquired by Anne Wilkes Tucker, Houston, USA;
By whom gifted to the current owner, Museum of Fine Arts Houston, in 2000
[Note: another print of same image sold at Piasa on Thursday, October 29, 1998 [Lot 00390] at sale titled Pablo Picasso et Dora Maar: Photographies de 1906, dimensions 20.6 x 23.6]
Lender’s address: Museum of Fine Arts, 1001 Bissonnet St, Houston, TX 77005, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Haus der Kunst, Munich, October 12, 2001–January 13, 2002; La vielle Charite, Marseille, France, February 7–April 30, 2002; Centre Cultural Tecla Sala, Barcelona, Spain, May 21–July 14, 2002
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 113
Caws, Mary Ann Dora Maar with and without Picasso, Thames & Hudson, London, 2000 p. 67
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 pl. 126
Combalía Dexeus, Victoria and Musées de Marseille. Dora Maar: Bataille, Picasso et les surréalistes. Marseille: Musées de Marseille, 2002, cat. 120

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

Dora Maar, Untitled (Nude with candelabra), 1935

X74050
Untitled (Nude with candelabra)

[Nu et chandelier] 1935
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 335 x 267 mm
Private Collection
Provenance:
The Artist;

Gerard Levy [b.1934, d.2016];
Thence by descent to the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala May 21-July 15, 2002

Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 pl. 113

Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 108, p.105
This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Dora Maar, Untitled (Sphinx Hotel), c.1935

X74061
Untitled (Sphinx Hotel)

c.1935
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 585 x 485 mm frame: 628 x 525 x 25 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot117 (one of two photographs)
Acquired by the current owner, a private collector
Lender’s address: Private collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Recto: Label with contact information Kefer/Dora Maar Verso: Double stamp KEFER-DORA MAAR – MANDATORY LABELLING – 45 BIS BD RICHARD WALLACE NEUILLY SUR SEINE
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar: Œuvres anciennes (Old works), Galerie 1900–2000, Paris, July 10–27 1990
Dora Maar,Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala, May 21-July 15, 2002
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p.92
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 pl.112
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 88

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

Dora Maar, Untitled (The pisser), c. 1935

X74081
Untitled (The pisser)

[Le pisseur] c. 1935
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 214 x 260 mm frame: 580 x 680 x 40 mm
Private Collection
Provenance:
The Artist;

Gerard Levy [b.1934, d.2016];
Thence by descent to the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:

Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala May 21-July 15, 2002


Las mujeres artistas y el surrealismo, Fundacion Museo Picasso Malaga, Oct 10 2017 - Jan 28 2018

Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001, pl. 91
Las mujeres artistas y el surrealismo, Nova Era Publications, Barcelona, 2017, pl.29, p. 105
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 109, p.106

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

Dora Maar, Untitled (Forbidden games), 1935

X74083
Untitled (Forbidden games)

1935
on paper, print
Photograph, gelatin silver print on paper, montage
frame: 532 x 630 x 32 mm image: 280 x 216 mm mount: 452 x 300 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.85
Provenance:
The Artist;
Andre Breton [b. 1896, d. 1966];
Thence by descent to the Estate of André Breton;
Sale André Breton - 42, rue Fontaine: Photographies, Calmels Cohen, Paris, Tuesday, April 15, 2003, Lot 05055;
Acquired by David Raymond, New York;
From whom acquired by the Cleveland Museum of Art through the John L. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar: Bataille, Picasso, et les Surréalistes. Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala, May 21-July 15, 2002
Dora Maar: Photographer. Dorsky Gallery, April 25-June 28, 2004
París y los Surrealistas. Centre de Cultura Contemporània de Barcelona, Spain, February 18-May 22, 2005; Museo de Bellas Artes, Bilbao, June 20-September 18, 2005
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Caws, Mary Ann, Dora Maar without and without Picasso. A Biography, Thames and Hudson Ltd, London, 2000, Reproduced p. 55
Maar, Dora. Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2000 Reproduced: p. 116, no. 87; mentioned: pp. 267 Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001, p.134, pl.88; mentioned: pp. 325
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Combaliìa Dexeus, Victoria. Pariìs y los surrealistas. Bilbao: Museo de Bellas Artes de Bilbao, 2005 Reproduced: p. 206
Combalia, Victoria, Dora Maar. Mas alla de Picasso, Circe Ediciones, Barcelona, 2013
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography : the David Raymond Collection in the Cleveland Museum of Art. 2014. Mentioned: p. 34; reproduced: p. 35; reproduced and mentioned: p. 101; mentioned: pp. 225
Baring, Louise, Dora Maar. Paris in the Time of Man Ray, Jean Cocteau and Picasso, Rizzoli International Publications, 2017 Reproduced p. 107
Ferrandou, Dominique and Julien Ferrandou: Dora Maar décor pour une tragédie. [S.l.]: SevenDoc, 2018
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p.107, pl.110
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Covered statues), 1935

X74129
Untitled (Covered statues)

1935
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 399 x 298 mm frame: 635 x 535 x 30 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.87
Provenance:
The Artist;
Thence by descent to the estate of the artist;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 032
Acquired by Charles Isaacs;
From whom acquired by Michael Mattis, New York;
From whom acquired by David Raymond, New York;
From whom acquired by Cleveland Museum of Art through the John F. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, fotógrafia, Valencia: Centro Cultural Bancaixi, January 1 – March 31, 1995
Dora Maar: Photographer, Dorsky Gallery, Long Island, USA April 25 – June 28, 2004
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p.32, Illustrated p.31
Combalia, Victoria, Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille], Museìes de Marseille, 2002, Mentioned: pp. 268 Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography: the David Raymond Collection in the Cleveland Museum of Art. 2014, p.116, pl.74; mentioned: p.222
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 92, p. 86
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (View of the Pont Alexandre III), c. 1935

X74132
Untitled (View of the Pont Alexandre III)

[Vue du pont Alexandre III] c. 1935
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 347 x 327 mm frame: 410 x 390 x 30 mm
Private Collection
Provenance:
The Artist;
By sale to Galerie 1900-2000;
By sale in 1994 to the current owner, a private collector
Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Stamped ‘KEFER-DORA MAAR 45 Bis, Bd RICHARD-WALLACE NEUILLY-SUR-SEINE MENTION OBLIGATOIRE’, handwritten (assumed by Dora Maar) in pencil on verso: Vue de pont Alexandre III
Exhibition History:
Centre Cultural Bancaixa, 1995
El Jardin de Eros, La Virreina, Centro Cultural Tecla Sala, Barcelona June – October, 1999
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala, May 21-July 15, 2002
Selected Literature:
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 pl. 74
Combaliìa Dexeus, Victoria. Pariìs y los surrealistas. Bilbao: Museo de Bellas Artes de Bilbao, 2005 Reproduced: p. 206
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 103, p. 94

This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Fashion photograph), c. 1935

X74543
Untitled (Fashion photograph)

c. 1935
on paper, print
Photograph, hand-coloured gelatin silver print on paper
unconfirmed: 260 x 160 mm frame: 560 x 435 x 40 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 036 (one of two photographs);
Acquired by the current owner, a private collector

Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Verso - PIASA wet stamp DM 1998; Annotated in an unknown hand Branch 39/40 and 3x
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar: Photographer, Dorsky Gallery, Long Island, USA April 25 – June 28, 2004
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris p. 40
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p.34
This work has a complete provenance for the period 1933-45.

Dora Maar, Les Années vous guettent (The years lie in wait for you), c. 1935

X74708
Les Années vous guettent (The years lie in wait for you)

[Les années vous guettent] c. 1935
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 356 x 254 mm frame: 597 x 485 x 25 mm
The William Talbott Hillman Collection
Provenance:
The artist [d. 1997];

Private collection, Europe;
Sale Photographs, Phillips de Pury & Company, Wednesday April 26 2006, Lot 021;
Acquired by the current owner, a private collector

Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of the artist: French
dentifying Marks: none
Place of Manufacture: France

Exhibition History
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature

Caws, Mary Ann Dora Maar with and without Picasso, a biography, Thames and Hudson, London, 2000, p.65 [credited to Lucien Treillard Collection, Paris, it has not been possible to establish whether this is the same print]

Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 33, p.33

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

Dora Maar, Silence, 1935–6

X74714
Silence

1935–6
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 292 x 228 mm frame: 483 x 418 x 37 mm
Private Collection, Canada
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 119
Collection of Howard Stein [b. 1926 d. 2011];
By whom donated to Joy of Giving Something Foundation;
Sale Sotheby's New York: 175 Masterworks To Celebrate 175 Years Of Photography: Property from Joy of Giving Something Foundation, Thursday, December 11, 2014 [Lot 075];
Acquired by the current owner, a private collector
Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Photographer's estate stamp and pencil sketches in an unidentified hand on the reverse
Place of Manufacture: Paris, France
Exhibition History:
New York, Dorsky Gallery, Dora Maar, Photographer, 2004
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 96
Caws, Mary Ann, Picasso's Weeping Woman: The Life and Art of Dora Maar, Boston, 2000, p. 75
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 122
This work has a complete provenance for the period 1933-45.

Dora Maar, Self-portrait [with sketch on verso], c. 1935

X76626
Self-portrait [with sketch on verso]

c. 1935
on paper, print
Photograph, gelatin silver print on paper. Verso: Graphite on paper
unconfirmed: 180 x 120 mm
Musée national Picasso-Paris Achat en 1998, ancienne collection Dora Maar. MP1998-147(v)
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Acquired by the current owner, Musée national Picasso-Paris, as pre-emptive buyer before the Dora Maar estate sales of October-December 1998
Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France

Exhibition History:
Selected Literature:
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Photograph for Dolfar advertisement), 1936

X73892
Untitled (Photograph for Dolfar advertisement)

1936
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 330 x 241 mm frame: 629 x 525 x 40 mm
Courtesy Bruce Silverstein Gallery, New York
Provenance:
The Artist;
Thence be descent to the estate of Dora Maar [1997];
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 44;
Private Collection, Netherlands
Sale Sotheby’s Paris on 16 Nov 2012, Lot 028
From whom acquired by the current owner, Bruce Silverstein Gallery
Lender’s address: Bruce Silverstein Gallery, 529 W 20th St, New York, NY 10011, USA
Nationality of the artist: French
Identifying Marks: Estate stamp on verso
Place of Manufacture: Paris, France
Exhibition History:
The Photography Show. Bruce Silverstein, New York, 4-7 April, 2019
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet & Associés, Millon & Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 45
Baring, Louise, and Dora Maar Dora Maar: Paris in the Time of Man Ray, Jean Cocteau, and Picasso New York, NY : Rizzoli Interntaional Publications, Inc., 2017 reproduced pp. 120-121, mentioned
p. 77;
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 pl.29, p.31

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

Dora Maar, Untitled (Fashion photograph), 1936

X73908
Untitled (Fashion photograph)

1936
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 197 x 167 mm frame: 505 x 379 x 40 mm
The J. Paul Getty Museum, Los Angeles
Provenance:
The Artist;

Sale Photographs from the 1920s and 1930s, Phillips, New York, November 13, 1980, lot 103;
Acquired by Samuel Wagstaff Jr [b. 1921, d. 1987];
From whom acquired by the current owner. J. Paul Getty Museum in 1984
Lender’s address: The J. Paul Getty Museum, 1200 Getty Center Dr, Los Angeles, CA 90049, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
"Icons of Style: A Century of Fashion Photography, 1911-2011", exhibition dates: June 26, 2018 to September 22, 2019; display dates for the work: June 26 to October 21, 2018, The J. Paul Getty Museum at the Getty Center (Los Angeles)
Selected Litterature:
Reproduced in Le Figaro illustré, Paris, July–August 1936

Baring, Louise, and Dora Maar Dora Maar: Paris in the Time of Man Ray, Jean Cocteau, and Picasso New York, NY: Rizzoli International Publications, Inc., 2017 reproduced p.71 [NB. credited to Galerie 1900-200]
This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Dora Maar, Untitled (Double portrait), c.1936

X73910
Untitled (Double portrait)

c.1936
on paper, unique
Photograph, gelatin silver print on paper
unconfirmed: 298 x 238 mm frame: 609.6 x 508 mm
The Cleveland Museum of Art, Gift of David Raymond 2008.172
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot047
Acquired by Edwynn Houk Gallery, New York (in their possession until at least 2002);
From whom acquired by David Raymond;
By whom gifted to the current owner, the Cleveland Museum of Art
*Other print of this image found in Drouot sales catalogue 20 Nov 1998 [Page 106 Lot 130] but research (e.g Haus der Kunst catalogue and backmatter of Forbidden Games: Surrealist and Modernist Photography catalogue) indicates that this version sold in the 1999 sale
Lender’s address: Cleveland Museum of Modern Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Partial exhibition History:
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala, May 21-July 15, 2002
Dora Maar: Photographer, Dorsky Gallery, Long Island, USA April 25 – June 28, 2004
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 41
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p.41
Maar, Dora. Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2000 Reproduced: p. 314, no. 184; mentioned: pp. 271
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 Reproduced: p. 250, pl. 176; mentioned: pp. 332
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004 Reproduced p. 1
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography: the David Raymond Collection in the Cleveland Museum of Art. 2014. Mentioned: p. 26; reproduced: p. 27; reproduced: p. (x); mentioned p. 102; mentioned: pp. 225
Baring, Louise, and Dora Maar Dora Maar: Paris in the Time of Man Ray, Jean Cocteau, and Picasso New York, NY : Rizzoli International Publications, Inc., 2017 reproduced pp. 120-121, mentioned p. 168

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

Dora Maar, Untitled (Portrait in profile), c. 1936

X73911
Untitled (Portrait in profile)

[Portrait de profil à la coiffure en hauteur] c. 1936
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 300 x 250 mm frame: 505 x 440 x 25 mm
Private Collection, Canada
Provenance:
The Artist;
From whom passed on to the estate of Dora Maar [d. 1997];
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 130 (one of two photographs);
Acquired by Edwynn Houk Gallery, New York;
From whom acquired by Howard Stein [d. 2011];
By whom donated to the Joy of Giving Something Foundation;
Sale The Odyssey of Collecting: Photographs from the Joy of Giving Something Foundation, 3 October 2017, New York, Lot 18;
Acquired by Edwynn Houk Gallery;
By sale from Edwynn Houk Gallery to the current owner, a private collector in 2018
Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: PIASA wet stamp "DM 1998" on verso
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
[1] Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 106, Illustrated p. 107

Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 42, p.40

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

Dora Maar, Untitled (Portrait in profile), c. 1936

X73913
Untitled (Portrait in profile)

c. 1936
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 285 x 215 mm frame: 505 x 440 x 25 mm
Private Collection, Canada
Provenance:
The Artist;

Edwynn Houk Gallery, New York;
Collection of Howard Stein [d. 2011];
Corkin Gallery, Toronto;
From whom acquired by the current owner, a private collector, in 2018

NB. A print of this work circulated at the Sale Les Photographies de Dora Maar, Piasa, Drouot, 19 November 1999, lot 46, dimensions: 29.9 x 23.8 cm, at Bloomsbury Auctions, London, 22 May 2012, lot 193 from a PRIVATE VENDOR, ITALY and Phillips New York: Wednesday, October 1, 2014 [Lot 00201], bought-in]. It has not been possible to establish whether any of the sales above relate to this print.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History :

Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Baring, Louise, Dora Maar. Paris in the Time of Man Ray, Jean Cocteau and Picasso, Rizzoli International Publications, 2017, reproduced p. 101

Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 43, p.40

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

Dora Maar, Untitled (Lise Deharme), 1936

X74026
Untitled (Lise Deharme)

1936
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 219 x 176 mm frame: 482.5 x 355 x 30 mm
The J. Paul Getty Museum, Los Angeles
Provenance:
The Artist;

Sale Photographs from the 1920s and 1930s, Phillips, New York, November 13, 1980, Lot 103;
Acquired by Samuel Wagstaff Jr [b. 1921, d. 1987];
From whom acquired by the current owner. J. Paul Getty Museum in 1984

* A print of this image was offered for Sale Pablo Picasso et Dora Maar: Photographies de 1906 à 1946, October 29, 1998 Lot 0397, dimensions 23.8 x 17.5. It has not been possible to establish whether this relates to the above.

Lender’s address: The J. Paul Getty Museum, 1200 Getty Center Dr, Los Angeles, CA 90049, USA
Nationality of the artist: French
Identifying Marks: In pencil in a later unknown hand on verso of mount: "80.6.21.7" and "Maar #.2"
Place of Manufacture: Paris, France
Exhibition History:
Women On the Edge: Twenty Photographers in Europe, 1919 – 1939, 1993, The J. Paul Getty Museum (Malibu), August 24 to November 28, 1993, Solomon R. Guggenheim Museum (New York), February 24 to May 31, 1994
World Without End (December 1, 2000 to February 25, 2001), Art Gallery of New South Wales (Sydney), December 1, 2000 to February 21, 2001

The Thrill of the Chase: The Wagstaff Collection of Photographs at the J. Paul Getty Museum, The J. Paul Getty Museum at the Getty Center (Los Angeles), March 15 to July 31, 2016, Wadsworth Atheneum (Hartford), September 10 to December 11, 2016, Portland Museum of Art (Portland), February 13 to May 7, 2017
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 pl. 143, p. 134

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

Dora Maar, Untitled (Villa for sale), 1936

X74032
Untitled (Villa for sale)

1936
on paper, print
Photocollage
unconfirmed: 370 x 285 mm frame: 543 x 450 x 25 mm
David Raymond, Asheville, North Carolina
Provenance:
The Artist;
From whom passed on to ‘Dora Maar’s circle’;
From whom acquired by Galerie Gérard Levy, Paris;
Sale, Photographs, Bonham’s New York, Friday, April 5, 2019, Lot 00055;
Acquired by the current owner, a private collector.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Nonostante Picasso, Palazzo Fortuny, Venice, March 8-July 14, 2014
Somos Plenamente Libres: las Mujeres Artistas y el Surrealismo, Musee Picasso, Malaga, October 9, 2017-28 January 2018.
Selected Literature:
Dora Maar, Nonostante Picasso, Palazzo Fortuny, exhibition catalogue, Venice, 2014, p.75
Las mujeres artistas y el surrealismo, Nova Era Publications, Barcelona, 2017, pl. 88, p. 227
This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Dora Maar, Untitled (Sky, pinwheels, and bottles), 1931-6

X74062
Untitled (Sky, pinwheels, and bottles)

1931-6
on paper, print
Photograph, gelatin silver print
unconfirmed: 205 x 183 mm frame: 530 x 430 x 30 mm
The Cleveland Museum of Art, John L. Severance Fund 2007.81
Provenance:
The Artist;
Thence by descent to the estate of the artist;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 87 (one of 9 photographs)
Acquired by Michael Mattis;
From whom acquired by David Raymond, New York by 2002; [2]
From whom acquired by Cleveland Museum of Art through the John F. Severance Fund in 2007
Lender’s address: Cleveland Museum of Art, 11150 East Blvd, Cleveland, OH 44106, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala May 21-July 15, 2002
Dora Maar: Photographer, Dorsky Gallery, Long Island, USA April 25 – June 28, 2004
Forbidden Games: Surrealist and Modernist Photography. The Cleveland Museum of Art (organizer), October 19, 2014-January 11, 2015
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris, p. 66 [titled: Tourniquets decoratifs, dated c. 1930]
Maar, Dora. Dora Maar: Bataille, Picasso et les surreìalistes. [Marseille]: Museìes de Marseille, 2002, p.104, pl.74; mentioned: p.266 Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001, p.340, pl.219; mentioned: p.335
Johnson, Anabella and Marcello Marvelli, Dora Maar: Photographer, Dorsky Gallery, Long Island City, New York, 2004
Cleveland Museum of Art, Tom E. Hinson, Ian Walker, and Lisa Kurzner. Forbidden Games: Surrealist and Modernist Photography: the David Raymond Collection in the Cleveland Museum of Art. 2014. Reproduced: p.114, no.72; mentioned: p.222 [NB. incorrectly referenced in backmatter as lot 032 in 19 November 1999 estate sale catalogue]
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 95, p. 106
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled, 1935-6

X74086
Untitled

1935-6
on paper, print
Photograph, hand coloured gelatin silver print on paper
unconfirmed: 399 x 297 mm mount: 400 x 298 mm frame: 525 x 475 x 30 mm
The Museum of Fine Arts, Houston, Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund, 97.83
Provenance:
The Artist;
from which acquired by Georges Bataille in 1936, d.1962;
by descent to Sylvia Bataille [b. 1908, d. 1993];
from whom acquired by The Collection Marvi, Monaco, August 1990;
from whom acquired by Jill Quasha Gallery (private dealer), New York in 1996;
from whom acquired by the current owner, Museum of Fine Arts, Houston in 1997.
Lender’s address: Museum of Fine Arts, Houston, 1001 Bissonnet St, Houston, TX 77005, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Modernism in a Century of Change: Cubism and the Heroic Years of Abstraction, The Museum of Fine Arts, Houston, October 1997–January 1998
Dora Maar - Pablo Picasso: A Dangerous Liaison, Haus der Kunst, Munich, October 12, 2001–January 13, 2002; La vielle Charite, Marseille, France, February 7–April 30, 2002
Utopia/ Dystopia: Construction and Destruction in Photography and Collage, Museum of Fine Arts, Houston, March 11–June 10, 2012.
Selected Literature:
Caws, Mary Ann, Dora Maar without and without Picasso. A Biography, Thames and Hudson Ltd, London, 2000. Reproduced p. 72
Centre Cultural Bancaixa. Dora Maar, fotógrafa: Centre Cultural Bancaixa, enero marzo 1995. Valencia: Bancaja, 1995, pl. 6
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001, pl. 181
Combalía Dexeus, Victoria and Musées de Marseille. Dora Maar: Bataille, Picasso et les surréalistes. Marseille: Musées de Marseille, 2002, cat. 136
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 130, p.121

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

Dora Maar, Untitled, 1936, printed 1980s

X74119
Untitled

1936, printed 1980s
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 170 x 120 mm frame: 426 x 326 x 40 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 051 (one of four photographs);
Acquired by the current owner, a private collector
Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: PIASA wet stamp DM 1999
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p. 44, Illustrated p. 45
This work has a complete provenance for the period 1933-45.

Dora Maar, 29 rue d'Astorg, c.1936, printed 1980s

X74544
29 rue d'Astorg

c.1936, printed 1980s
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 100 x 160 mm frame: 400 x 300 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 051 (one of four photographs);
Acquired by the current owner, a private collector

Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: PIASA wet stamp DM 1999
Place of Manufacture: Paris, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p. 44, Illustrated p. 45
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 119
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Danger), 1936

X74715
Untitled (Danger)

1936
on paper, print
Photomontage
unconfirmed: 254 x 190 mm mount: 330.2 x 270 mm frame: 520.7 x 419 x 38 mm
Collection of Nion McEvoy
Provenance:
The artist;
Acquired by Christian Bouqueret, Paris, 2002;
By whom sold to Henry Buhl no later than 2012;
Sale A show of hands: Photographs from the collection of Henry Buhl, Sotheby's New York 12-13 Dec 2012, Lot 11;
Acquired by Shalom Shpliman, Israel;
Sale Collection Shalom Shpilman vendue au profit du Shpilman Institute for Photography, Christie’s Paris 13-20 Nov 2015, Sale 4041 Lot 205;
Acquired by the current owner, Collection of Nion McEvoy
Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French

Identifying marks: none
Place of manufacture: France
Exhibition history:
Speaking with Hands: Photographs from The Buhl Collection, Guggenheim Museum, New York, June-September 2004, Guggenheim Museum, Bilbao, November 24 2005 – 26 March 2006, Museum Folkwang, Essen, May 20 – 30 July 2006 and The State Russian Museum, Saint Petersburg, September 21 – 31 October 2006
la mère la mer, McEvoy Foundation for the Arts, San Francisco, 28 October 2017 – 13 January 2018
Dora Maar, Centre Pompidou, Paris, France 05 June – 29 July 2019
Bibliography
Jennifer Blessing, Speaking with Hands: Photographs from The Buhl Collection, Guggenheim Foundation, 2004 pp.117 and 230;
Catalogue for the exhibition "Dora Maar, Picasso et les Surréalistes", Musees de Marseille, Centre de la Vieille Charité, 2002 p.146
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 122, p. 109
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Pablo Picasso), 1936

X75348
Untitled (Pablo Picasso)

1936
on paper, unique
Pastel on paper
unconfirmed: 575 x 450 mm frame: 825 x 710 x 50 mm
Collection Privée Yann Panier courtesy Galerie Brame et Lorenceau
Provenance:
The Artist;
Collection Jean LOIZE et Robert MICHEL, Paris;
From whom acquired by the current owner, Collection Yann Panier in 1993

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of the artist: French

Identifying marks: signed by the artist, lower right

Place of manufacture: France

Exhibition History:

Biennale des antiquaires, Galerie Brame et Lorenceau, Paris
Galerie Brame et Lorenceau at Park Avenue Armoy New York, 8-12 November 2012 Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 157, p.147
This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Dora Maar, Untitled (Portrait of Picasso), c. 1936

X75357
Untitled (Portrait of Picasso)

[Portrait de Picasso] c. 1936
on paper, unique
Crayon and ink on paper
unconfirmed: 310 x 245 mm frame: 600 x 545 x 60 mm
The Sandor Family Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, lot 93;
Private collection, Paris;
Sale Sotheby's, Impressionist & Modern Art, Paris, Wednesday, June 1, 2011 [Lot 087]
The current owner, the Sandor Family Collection
Lender’s address: Private collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Signed bottom right, Dora Maar
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999, Hotel Drouot, p. 63
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p.146
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (figurine for 29 rue d'Astorg), 1936, printed 1980s

X76005
Untitled (figurine for 29 rue d'Astorg)

1936, printed 1980s
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 240 x 180 mm frame: 462 x 326 x 40 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 051 (one of four photographs);
By sale to the current owner, a private collector.
Lender’s address: Private collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: PIASA wet stamp "DM 1999"
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris p. 44, Illustrated p. 45
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 p. 118
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled (Double portrait), c. 1936

X76210
Untitled (Double portrait)

c. 1936
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 296 x 236 mm frame: 505 x 440 x 25 mm
Private Collection, Canada
Provenance:
The Artist;
From whom passed on to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 130 (one of two photographs);
Acquired by Edwynn Houk Gallery, New York;
From whom acquired by Howard Stein [d. 2011];
By whom donated to the Joy of Giving Something Foundation;
Sale The Odyssey of Collecting: Photographs from the Joy of Giving Something Foundation, 4 April 2017, New York, Lot 141;
Acquired by Edwynn Houk Gallery, New York;
From whom acquired by the current owner, a private collector in 2018
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: "DM 1998" estate stamp on verso
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 106, Illustrated p. 107

Caws, Mary Ann, Dora Maar without and without Picasso. A Biography, Thames and Hudson Ltd, London, 2000. Reproduced p. 18
This work has a complete provenance for the period 1933-45.

Dora Maar, Picasso Painting "Guernica" in the Workshop at Grands Augustins, Paris, 1937

X74258
Picasso Painting "Guernica" in the Workshop at Grands Augustins, Paris

1937
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 160 x 240 mm mount: 405 x 530 mm frame: 460 x 585 x 30 mm
Musée national Picasso-Paris Achat par préemption en 1998, ancienne collection Dora Maar. MP1998-200
Provenance:
The artist;
Thence by descent to the estate of Dora Maar [d. 1997];
Sale Les Picasso de Dora Maar, 27-28 October 1998, Paris, Lot 193 [1]
Acquired by the current owner Musée national Picasso-Paris, as pre-emptive buyer at the above sale
Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France
Exhibition History:

Selected Literature:
Reproduced in London Bulletin N°6, October 1938
[1] Picard Audap Solanet & Associés, Millon & Associés, Les Picasso de Dora Maar, 27 – 28 October 1998, Hotel Drouot, Paris, p. 52
This work has a complete provenance for the period 1933-1945.

Dora Maar, Picasso Painting "Guernica" in the Workshop at Grands Augustins, Paris, 1937

X74675
Picasso Painting "Guernica" in the Workshop at Grands Augustins, Paris

[Picasso en train de peindre la toile « Guernica » dans l'atelier des Grands Augustins, Paris] 1937
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 207 x 200 mm mount: 530 x 405 mm frame: 585 x 460 x 30 mm
Musée national Picasso-Paris Achat par préemption en 1998, ancienne collection Dora Maar. MP1998-279
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 171 [1]
Acquired by the current owner Musée national Picasso-Paris, as pre-emptive buyer at the above sale
Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France

Exhibition history

Selected literature

[1] Picard Audap Solanet & Associés, Millon & Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p. 145
This work has a complete provenance for the period 1933-1945.

Dora Maar, Pablo Picasso on the beach of Juan-les-Pins, 1937

X74720
Pablo Picasso on the beach of Juan-les-Pins

[Pablo Picasso sur la plage de Juan-les-Pins] 1937
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 368 x 280 mm frame: 390 x 305 x 30 mm
Private Collection
Provenance:
The Artist;

Sale Photographies, Tajan, Paris June 2 2003 Lot 0167;
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Richardson, John et al. Picasso and the Camera, Gagosian Gallery New York, 2014, p. 226
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, mentioned p.189
This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Dora Maar, Picasso on a Stool in front of "Guernica" in the Workshop at Grands Augustins, Paris, 1937

X74728
Picasso on a Stool in front of "Guernica" in the Workshop at Grands Augustins, Paris

[Picasso sur un escabeau devant « Guernica » dans l'atelier des Grands Augustins, Paris] 1937
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 205 x 193 mm mount: 530 x 405 mm frame: 585 x 460 x 30 mm
Musée national Picasso-Paris Achat par préemption en 1998, ancienne collection Dora Maar. MP1998-222
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Sale Les Picasso de Dora Maar, 27-28 October 1998, Paris, Lot 200;
Acquired by the current owner Musée national Picasso-Paris, as pre-emptive buyer at the above sale
Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France

Exhibition history

Selected literature

[1] Picard Audap Solanet & Associés, Millon & Associés, Les Picasso de Dora Maar, 27 – 28 October 1998, Hotel Drouot, Paris, [titled in French and English : Picasso dans son atelier des grands Augustins sur un Escabeau, Devant Guernica/Picasso in the Grands-Augustins Studio on a stepladder in front of Guernica]
This work has a complete provenance for the period 1933-1945.

Dora Maar, The Conversation, 1937

X76532
The Conversation

[Conversation entre Marie-Thérèse et Dora Maar] 1937
painting
Oil paint on canvas
unconfirmed: 1620 x 1300 mm unconfirmed, frame: 1785 x 1462 x 70 mm
Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid
Provenance:
The artist;
Thence by descent to the estate of Dora Maar [d. 1997];
Private Collection, Paris; [1]
Sale Tableaux, Sculptures XIXème, Modernes & Contemporains, Martin & Chausselat, Paris Sunday January 27 2008 Lot 063
Acquired by the current owner, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid

Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: label on verso inscribed with "Dora Maar, la conversation, Janvier 1937"
Place of Manufacture: France

Exhibition History
Picasso and the Camera, Gagosian Gallery, New York Oct 28 2014 – Jan 03 2015
Las mujeres artistas y el surrealismo, Fundacion Museo Picasso Malaga, Oct 10 2017 - Jan 28 2018
Selected Literature

[1] Martin & Chausselat, Tableaux, Sculptures XIXème, Modernes & Contemporains, 27 January 2008, Paris, p. 34
Richardson, John et al. Picasso and the Camera, Gagosian Gallery New York, 2014, p. 237
Las mujeres artistas y el surrealismo, Nova Era Publications, Barcelona, 2017, pl. 12, p. 69
This work has a complete provenance for the period 1933-1945.

Dora Maar, Dolores Miro, c.1938

X74721
Dolores Miro

c.1938
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 240 x 180 mm frame: 530 x 405 mm
The J. Paul Getty Museum, Los Angeles
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar [d.1997];
Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 148;
Acquired by Gerd Sander;
Sale Collection of Corbeau et Renard Assembled by Gerd Sander, Phillips de Pury & Company, London, May 17, 2008, lot 153;
Acquired by Deborah Bell Photographs;
From whom acquired by J. Paul Getty Museum in 2015
Lender’s address: J. Paul Getty Museum, 1200 Getty Center Dr, Los Angeles, CA 90049, USA
Nationality of the artist: French
Identifying Marks: none

Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet & Associés, Millon & Associés, Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Hotel Drouot, Paris, p.120
This work has a complete provenance for the period 1933-45.

Dora Maar, Nude Study: Woman Sitting Facing Backwards, 1930s

X73918
Nude Study: Woman Sitting Facing Backwards

[Etude de nu: femme assise de dos] 1930s
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 300 x 240 mm frame: 640 x 560 x 40 mm
Collection Serge Bramly
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale "Les Photographies de Dora Maar, une dernière recontre", 19 November 1999, Paris, Lot 011
Likely acquired by Galerie Virginia Zabriskie;
From whom acquired by the current owner, a private collector in 1999;
Bought in at Sotheby’s sale "Photographs", 19 May 2016, London, Lot 035
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Estate stamp "DM 1999"
Place of Manufacture: Paris, France
Exhibition History:
Galerie Michèle Chomette, Paris 1999
Dora Maar, Haus der Kunst, October 13, 2001-January 6, 2002; Centre d’Art Tecla Sala (May 21-July 15, 2002)
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris, p. 18, Illustrated p. 17
Combalia, Victoria and Gaßner, Huberstus Dora Maar, Haus der Kunst, Munich, 2001 pl. 153
This work has a complete provenance for the period 1933 – 1945.

Dora Maar, Assia in Profile Posing Naked, Sitting on the Edge of a Library, 1930s

X73919
Assia in Profile Posing Naked, Sitting on the Edge of a Library

1930s
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 290 x 207 mm frame: 550 x 447 x 20 mm
Courtesy Bruce Silverstein Gallery, New York
Provenance:
The Artist;

From whom acquired by Galerie Dominique Weitz;
From whom acquired by Bruce Silverstein Gallery, 2012.
Lender’s address: Private Collection, c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: None
Place of Manufacture: Paris, France
Exhibition History:
The Photography Show, Bruce Silverstein, New York 4-7 April, 2019
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
This work has an incomplete provenance for the period 1933-45, but consultation of appropriate sources give no indication of unlawful taking.

Dora Maar, Series of Portraits of Dora Maar, c. 1939

X76815
Series of Portraits of Dora Maar

[Série de portraits de Dora Maar devant 'Femmes à leur toilette'] c. 1939
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 290 x 230 mm mount: 530 x 405 mm frame: 585 x 460 x 30 mm
Musée national Picasso-Paris Don Succession Picasso, 1992. APPH1383
Provenance:
The Artist;
Thence by descent to the Estate of Pablo Picasso [d.1973];
By whom donated to the current owner, Musée Picasso, in 1991

Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France

Exhibition history

Selected literature

This work has a complete provenance for the period 1933-1945.

Dora Maar, Portrait of a Woman, 1939

X77565
Portrait of a Woman

[Portrait de femme] 1939
painting
Oil paint on wood
unconfirmed: 850 x 680 mm unconfirmed, frame: 1080 x 911 x 94 mm
Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid
Provenance:
The artist;
Thence by descent to the estate of Pablo Picasso [d. 1973];
The current owner, Fundación Almine y Bernard Ruiz-Picasso para el Arte, Madrid

Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Royan, France

Exhibition History
Picasso and the Camera, Gagosian Gallery, New York Oct 28 2014 – Jan 03 2015

Las mujeres artistas y el surrealismo, Fundacion Museo Picasso Malaga, Oct 10 2017 - Jan 28 2018
Selected Literature

Richardson, John et al. Picasso and the Camera, Gagosian Gallery New York, 2014, p. 247
Las mujeres artistas y el surrealismo, Nova Era Publications, Barcelona, 2017, pl. 111, p. 275
This work has a complete provenance for the period 1933-1945.

Dora Maar, The Cage, 1943

X75349
The Cage

[La cage] 1943
painting
Oil paint on canvas
unconfirmed: 680 x 480 mm frame: 1275 x 1090 x 60 mm
Collection Privée Yann Panier courtesy Galerie Brame et Lorenceau
Provenance:
The Artist;
From whom acquired by Galerie Jeanne Bucher in 1944;
From whom acquired by Pierre Gastaud (b. 1920 – d.2009);
Thence by descent to the estate Pierre Gastaud;
Sale "Impressionist/Modern Art & Picasso Ceramics, Christie’s London 7 February 2014, Lot 055
From whom acquired by the current owner, Collection Yann Panier
Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Signé et daté au dos
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Vera Pagava, Galerie Jeanne Bucher, Paris, June 13–30 1944
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 172, p.165
This work has a complete provenance for the period 1933-1945.

Dora Maar, Untitled (Self-portrait). Verso: Still life with pitcher, c.1945

X74696
Untitled (Self-portrait). Verso: Still life with pitcher

[Autoportrait / Nature morte avec la tasse et la cuillère] c.1945
painting
Oil paint and paper on board
unconfirmed: 305 x 183 mm frame: 705 x 570 x 55 mm
From the Gary and Melissa Oakland Colelction, Billings, MT USA
Provenance:
The Artist;
From whom gifted to the Docteur Baron, Paris (Baron is believed to be the artist's eye doctor at Hôpital Sainte-Anne, Paris around 1945);
Private Collection, France;
Sale Auktionshaus Lempertz, Cologne, at sale titled ‘Modern Art’ on 1 December 2017, Lot 436;
From whom acquired by Galerie Michael, Beverly Hills;
Acquired by the current owner, a Private Collection, in March 2018
Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: Signed and dedicated 'Pour le Docteur/Baron/avec l'amitié Dora Maar' in blue pen lower left
India ink and gouache painting verso. The card is embossed diagonally with 'MARCEL ROCHAS PARIS'
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 170, p.163
This work has a complete provenance for the period 1933-45.

Dora Maar, Untitled, c. 1957

X75918
Untitled

c. 1957
on paper, print
Ink on paper
unconfirmed: 240 x 320 mm frame: 353 x 460 x 30 mm
Collection Laura Pecheur
Provenance:
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Sold as part of a lot within Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999, either lot 119, 125, 126, 129, or 130;
Acquired by the current owner, a private collector.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 170, p.163
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot, mentioned p. 66-67 (not illustrated) This work has a complete provenance for the period 1933-45.
This work has a complete provenance for the period 1933-45.
 

Dora Maar, Untitled, c. 1957

X75919
Untitled

c. 1957
on paper, print
Ink on paper
unconfirmed: 240 x 320 mm frame: 380 x 460 x 30 mm
Collection Laura Pecheur
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Sold as part of a lot within Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999, either lot 119, 125, 126, 129, or 130;
Acquired by the current owner, a private collector.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 170, p.163
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot, mentioned p. 66-67 (not illustrated)
This work was made after the operative period 1933-45.
 

Dora Maar, La Pluie (The rain), 1957

X75923
La Pluie (The rain)

1957
on paper, print
Ink on paper
unconfirmed: 240 x 318 mm frame: 380 x 458 x 30 mm
Collection Laura Pecheur
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Sold as part of a lot within Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999, either lot 119, 125, 126, 129, or 130;
Acquired by the current owner, a private collector.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 170, p.163
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot, mentioned p. 66-67 (not illustrated)
This work was made after the operative period 1933-45.

Dora Maar, Untitled, c. 1957

X75924
Untitled

c. 1957
on paper, print
Ink on paper
unconfirmed: 240 x 318 mm frame: 380 x 458 x 30 mm
Collection Laura Pecheur
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Sold as part of a lot within Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999, either lot 119, 125, 126, 129, or 130;
Acquired by the current owner, a private collector.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 170, p.163
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot, mentioned p. 66-67 (not illustrated)
This work was made after the operative period 1933-45.

Dora Maar, Landscape, c. 1960

X78010
Landscape

c. 1960
on paper, unique
Oil paint on board
unconfirmed: 85 x 120 mm frame: 351 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet & Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Landscape, c. 1960

X78011
Landscape

c. 1960
on paper, unique
Oil paint on board
unconfirmed: 85 x 120 mm frame: 351 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet & Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Landscape, c. 1960

X78012
Landscape

c. 1960
on paper, unique
Oil paint on board
unconfirmed: 100 x 192 mm frame: 351 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Landscape, c. 1960

X78013
Landscape

c. 1960
on paper, unique
Oil paint on board
unconfirmed: 85 x 150 mm frame: 351 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Landscape, c. 1960

X78014
Landscape

c. 1960
on paper, unique
Oil paint on board
unconfirmed: 105 x 170 mm frame: 351 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Landscape, c. 1960

X78015
Landscape

c. 1960
on paper, unique
Oil paint on board
unconfirmed: 90 x 125 mm frame: 351 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Landscape, c. 1960

X78016
Landscape

c. 1960
on paper, unique
Oil paint on board
unconfirmed: 130 x 190 mm frame: 351 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Landscape, c. 1960

X78017
Landscape

c. 1960
on paper, unique
Oil paint on board
unconfirmed: 155 x 240 mm frame: 351 x 433 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Abstract Composition, c. 1970

X78018
Abstract Composition

c. 1970
on paper, unique
Watercolour on paper
unconfirmed: 150 x 240 mm frame: 353 x 293 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet & Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Abstract Composition, c. 1970

X78019
Abstract Composition

c. 1970
on paper, unique
Watercolour on paper
unconfirmed: 130 x 185 mm frame: 353 x 293 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Abstract Composition, c. 1970

X78020
Abstract Composition

c. 1970
on paper, unique
Watercolour on paper
unconfirmed: 150 x 120 mm frame: 353 x 293 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar, Untitled, c. 1970s

X78175
Untitled

c. 1970s
on paper, unique
Oil monotype on paper
unconfirmed: 210 x 260 mm unconfirmed, frame: 350 x 400 x 300 mm
Collection Laura Pecheur
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Sold as part of a lot within Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999, either lot 119, 125, 126, 129, or 130;
Acquired by the current owner, a private collector.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 170, p.163
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot, mentioned p. 66-67 (not illustrated)
This work was made after the operative period 1933-45.

Dora Maar, Untitled, c. 1970s

X78176
Untitled

c. 1970s
on paper, unique
Oil monotype on paper
unconfirmed: 210 x 260 mm unconfirmed, frame: 350 x 400 x 30 mm
Collection Laura Pecheur
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d. 1997];
Sold as part of a lot within Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999, either lot 119, 125, 126, 129, or 130;
Acquired by the current owner, a private collector.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, plate 170, p.163
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot, mentionned p. 66-67 (not illustrated)

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

Dora Maar, Untitled, c.1980

X74136
Untitled

c.1980
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 300 x 237 mm frame: 462.5 x 355 mm
The J. Paul Getty Museum, Los Angeles
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar [d. 1997];
Sale 2017 through Galerie Michèle Chomette to the current owner, J. Paul Getty Museum
Lender’s address: J. Paul Getty Museum, 1200 Getty Center Drive, Los Angeles, CA 90049-1679, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 189, p. 177
This work was made after the operative period 1933-45.

Dora Maar, Untitled, c.1980

X74137
Untitled

c.1980
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 235 x 174 mm frame: 530 x 405 mm
The J. Paul Getty Museum, Los Angeles
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar [d. 1997];
Sale 2017 through Galerie Michèle Chomette to the current owner, J. Paul Getty Museum
Lender’s address: J. Paul Getty Museum, 1200 Getty Center Drive, Los Angeles, CA 90049-1679, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 187, p. 176
This work was made after the operative period 1933-45.

Dora Maar, Untitled, c.1980

X74144
Untitled

c.1980
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 235 x 300 mm frame: 482.5 x 355 mm
The J. Paul Getty Museum, Los Angeles
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar [d. 1997];
Sale 2017 through Galerie Michèle Chomette to the current owner, J. Paul Getty Museum
Lender’s address: J. Paul Getty Museum, 1200 Getty Center Drive, Los Angeles, CA 90049-1679, USA
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019

Selected Literature:
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019, pl. 182, p. 172
This work was made after the operative period 1933-45.

Dora Maar, Untitled, c. 1980

X76446
Untitled

c. 1980
on paper, print
Gelatin silver print on paper
unconfirmed: 240 x 180 mm frame: 350 x 293 x 40 mm
Archive Dora Maar, Coutersy ADD & Associes
Provenance:
The Artist;
Thence by descent to the heirs of Dora Maar [d. 1997];
ADD Associés, as representatives of the heirs of Dora Maar, by 1998

Lender’s address: Private collection, c/o Matthew Gale, Head of Displays Tate Modern

Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History:

Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected literature:

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

Dora Maar, Abstract Composition, c. 1980

X78021
Abstract Composition

c. 1980
on paper, unique
Watercolour on paper
unconfirmed: 170 x 125 mm frame: 353 x 293 x 40 mm
Dominique de Roquemaurel Galitzine
Provenance:
The artist;
Thence by descent to the Estate of Dora Maar [d.1997];
As part of a lot within the Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 26-27 May 1999
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History: Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019

Selected Literature:
Sale Picard Audap Solanet and Associés, J.J. Mathias, Derniers souvenirs de Dora Maar, 27 May 1999, Hotel Drouot
This work was made after the operative period 1933-45.

Dora Maar
(1907-1997, born: Paris, died: Ménerbes)
Pablo Picasso
(1881-1973, born: Málaga, died: Mougins)

Dora Maar and Pablo Picasso, Portrait of Dora Maar, in profile, 1st state, 1936-7

X74227
Portrait of Dora Maar, in profile, 1st state

[Portrait de Dora Maar, de profil, 1e état] 1936-7
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 300 x 237 mm mount: 530 x 405 mm frame: 585 x 460 x 30 mm
Musée national Picasso-Paris Dation en 1998, ancienne collection Dora Maar. MP1998-323
Provenance:
The artist;
Thence by descent to the estate of Dora Maar [d. 1997];
Bought in Sale Les Picasso de Dora Maar, 27-28 October 1998, Paris, Lot ‘D’ [1]
Accepted in lieu of inheritance tax by the state;
The current owner Musée national Picasso-Paris

Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France

Exhibition History:

Selected Literature
[1] Picard Audap Solanet & Associés, Millon & Associés, Les Picasso de Dora Maar, 27 – 28 October 1998, Hotel Drouot, Paris, p. 97
This work has a complete provenance for the period 1933-1945.

Dora Maar and Pablo Picasso, Portrait of Dora Maar, in profile, 6th state, 1936-7

X74228
Portrait of Dora Maar, in profile, 6th state

[Portrait de Dora Maar, de profil, 6e état] 1936-7
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 300 x 240 mm mount: 530 x 405 mm frame: 580 x 460 x 30 mm
Musée national Picasso-Paris Dation en 1998, ancienne collection Dora Maar. MP1998-319
Provenance:
The artist, Dora Maar, until her death in 1997;
Accepted in lieu of inheritance tax by the state;
The current owner Musée Picasso

Lender’s address: 5 Rue de Thorigny, 75003 Paris, France
Nationality of the artist: French and Spanish
Identifying Marks:
Place of Manufacture: Paris, France
Exhibition History:

Picasso and the Camera, Gagosian Gallery, New York Oct 28 2014 – Jan 03 2015
Selected literature:
Richardson, John et al. Picasso and the Camera, Gagosian Gallery New York, 2014, p. 253
Amao, Damarice, Amanda Maddox and Karolina Ziebinksa-Lewandowska (eds.) Dora Maar, The J. Paul Getty Museum, Los Angeles and Tate Publishing, London, 2019 pl. 160, p. 149

This work has a complete provenance for the period 1933-1945.

Anonymous

Anonymous, Untitled (Reproduction of a 1900s photograph by C. Bonfort), c.1935

X76444
Untitled (Reproduction of a 1900s photograph by C. Bonfort)

c.1935
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 120 x 90 mm frame: 425 x 325 x 30 mm
Archive Dora Maar, Coutersy ADD & Associes
Provenance:
Maker unknown;
Collected by the artist Dora Maar;
In the possession of the Artist until her death in 1997;
Thence by descent to the heirs of Dora Maar;
ADD Associés, as representatives of the heirs of Dora Maar, by 1998

Lender’s address: Private collection, c/o Matthew Gale, Head of Displays Tate Modern

Nationality of the artist: French
Identifying Marks:
Place of Manufacture:
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected literature:

This work has a complete provenance for the period 1933-1945.

Unknown Photographer

Unknown Photographer, Dora Maar, c. 1925

X76440
Dora Maar

c. 1925
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 60 x 90 mm frame: 413 x 313 x 40 mm
Archive Dora Maar, Coutersy ADD & Associes
Provenance:
In the possession of the Artist until her death in 1997;
Thence by descent to the heirs of Dora Maar;
ADD Associés, as representatives of the heirs of Dora Maar, by 1998

Lender’s address: Private collection, c/o Matthew Gale, Head of Displays Tate Modern

Nationality of the artist: French
Identifying Marks: none
Place of Manufacture:unknown
Exhibition History:

Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected literature:

This work has a complete provenance for the period 1933-1945.

Unknown Photographer, Dora Maar, 1925

X76441
Dora Maar

1925
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 90 x 130 mm frame: 413 x 313 x 40 mm
Archive Dora Maar, Coutersy ADD & Associes
Provenance:
In the possession of the Artist until her death in 1997;
Thence by descent to the heirs of Dora Maar;
ADD Associés, as representatives of the heirs of Dora Maar, by 1998

Lender’s address: Private collection, c/o Matthew Gale, Head of Displays Tate Modern

Nationality of the artist: French
Identifying Marks:
Place of Manufacture:
Exhibition History:

Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected literature:


This work has a complete provenance for the period 1933-1945.

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

Pablo Picasso, Portrait of Dora Maar with bun II, 1936

X74673
Portrait of Dora Maar with bun II

[Portrait de Dora Maar au Chignon II] 1936
on paper, unique
Drypoint on paper
unconfirmed: 449 x 343 mm
Musée national Picasso-Paris Dation Jacqueline Picasso, 1990. MP1990-120
Provenance:
The artist [b.1881, d.1973];
Thence by descent to Jacqueline Picasso [b.1927, d.1986];
Accepted in lieu of inheritance tax by the current owner Musée national Picasso-Paris, in 1990

Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France
Exhibition history

Masterpieces from the Musée national Picasso, Paris: Seattle Art Museum, 08 Oct 2010-17 Jan 2011, Virginia Museum of Fine Arts, 19 Feb 2011-15 May 2011, Fine Arts Museums of San Francisco, 11 June 2011-11 Oct 2011, Art Gallery of New South Wales, 12 Nov 2011-25 Mar 2012, Art Gallery of Ontario, 23 April 2012-02 Sept 2012, Palazzo Reale, 19 Sept 2012-27 Jan 2013
Face à Picasso (Picasso-Méditerranée): Musée Mohammed VI, d'art moderne et contemporain, 18 April 2017-31 July 2017
Selected Literature

REGNIER, Gérard (dir.) [Exhibition Paris, Grand Palais. 1990-1991]. Picasso, une nouvelle dation. Catalogue d'exposition. Réunion des musées nationaux, 1990, p.254
BALDASSARI, Anne (dir.) [Exhibition Seattle, Seattle Art Museum, 2010-2011] Picasso : masterpieces from the Musée National Picasso, Paris. Catalogue d'exposition. Paris, Skira/Flammarion, RMN, 2010 p. 158

This work has a complete provenance for the period 1933-1945.

Pablo Picasso, Portrait of Dora Maar, forward facing, at Chateau de Boisgeloup, Gisors, in March 1936, 1936

X77561
Portrait of Dora Maar, forward facing, at Chateau de Boisgeloup, Gisors, in March 1936

[Portrait de Dora Maar, de face, au chateau de Boisgeloup, Gisors, en Mars 1936] 1936
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 240 x 180 mm mount: 530 x 405 mm frame: 585 x 460 x 30 mm
Musée national Picasso-Paris Don Succession Picasso, 1992. APPH13880
Provenance:
The artist;
Thence by descent to the Estate of Pablo Picasso [d.1973];
Donated by the Estate to current owner Musée national Picasso-Paris in 1992
Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France

Exhibition history

Selected literature

This work has a complete provenance for the period 1933-1945.

Pablo Picasso, Portrait of Dora Maar, 1937

X74240
Portrait of Dora Maar

[Portrait de Dora Maar] 1937
painting
Oil paint on canvas
unconfirmed: 553 x 463 mm frame: 810 x 660 x 90 mm
Musée national Picasso-Paris Dation Pablo Picasso, 1979. MP166
Provenance:
The artist;
Given in lieu of Inheritance tax to Galeries nationales du Grand Palais by 1979, after the artist's death in 1973;
The current owner, Musée national Picasso-Paris, as part of the wider French cultural body Réunion des Musées Nationaux – Grand Palais;
Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France
Exhibition History:
Picasso. Oeuvres reçues en paiement des droits de succession, Galeries nationales du Grand Palais, France, Paris 11 Oct 1979-07 Jan 1980
Picasso 1881-1973. Exposicion antologica. Museo espagnol de arte contemporaneo, Spain Nov 1981- Dec 1981
Los Picassos de Picasso en Mexico. Una exposicion retrospectiva. Museo Tamayo, Mexico Nov 198 - Jan 1983
Picasso : Pékin National Art Museum of China, 02 May 1983-20 May 1983 and Shanghai Art Museum, 30 May 1983- 30 June 1983
The artist before nature : Auckland (Nouvelle-Zélande), Auckland Art Gallery Toi o Tamaki, 20 Sept 1989-12 Nov 1989
Picasso and the weeping woman : The Museum of Modern Art, New York 10 Feb 1994-01 May 1994 and Los Angeles County Museum of Art, 10 Feb 1994-01 May 1994
Picasso : Dora Maar 1935-1945 National Gallery of Victoria, Melbourne 28 Jun 2006-08 Oct 2006
Picasso Masterpieces from the Musée national Picasso, Paris Pavillon chinois de l'exposition universelle, Shanghai 18 Oct 2011-10 Jan 2012
Picasso.Mania Etablissement public de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées, Paris 07 Oct 2015-29 Feb 2016
Picasso drawings inspiration : Jérusalem (Israël), The Israël Museum, 05 Jul 2016-19 Nov 2016
Selected Literature:
BOZO, Dominique (dir.), [Exposition. Paris, Grand Palais. 1979-1980]. Picasso : oeuvres reçues en paiement des droits de succession, Grand-Palais : 11 Oct 1979-7 Jan 1980. - Paris : Editions de la Réunion des musées nationaux , 1979. - 325 p. - Bibliogr. p. 322-325. illustrated p.184
DUPUIS-LABBE, Dominique, MICHEL, Odile, REGNIER, Gérard, SPIES, Werner, ... [Exposition. Berlin. Neue Nationalgalerie. 2005-2006]. Der private Picasso: le Musée Picasso à Berlin. Catalogue d'exposition. München Berlin London New York: Prestel, 2005, illustrated p.183
[Exposition. Paris, Musée Picasso. 2006]. Picasso-Dora Maar : il faisait tellement noir : [exposition], Paris, Musée Picasso, 14 février-22 mai 2006, Melbourne, National gallery of Victoria, 29 juin-8 octobre 2006. Réd. Anne Baldassari. - Paris : Flammarion : Réunion des musées nationaux, impr. 2006. - 1 vol. (317 p.): illustrated p.207
[Exposition. Paris, Musée national Picasso, 2008] Laboratoire Central: un accrochage de la collection. Catalogue d'exposition. Paris, Magazine Beaux-Art, Musée Picasso, 2008 illustrated p.48
[Exposition. Jerusalem, The Israel Museum. 2016]. Pablo Picasso: Drawing inspiration [exhibition, Jerusalem, The Israel Museum, July-November 2016] / Curated by Tanya Sirakovich. The Israel Museum, 2016. illustated p.104;43
This work has a complete provenance for the period 1933-1945.

Pablo Picasso, Portrait of Dora Maar in profile, 1937

X74241
Portrait of Dora Maar in profile

[Profil de Dora Maar] 1937
on paper, print
Cliché-verre and dry point
unconfirmed: 177 x 125 mm mount: 530 x 405 mm frame: 585 x 460 x 30 mm
Musée national Picasso-Paris Dation en 1998, ancienne collection Dora Maar. MP1998-310
Provenance:
The artist;
Bought in Sale Le Photographies de Dora Maar, une historie des ɶuvres, 20 November 1998, Paris, Lot 002 [1]
Accepted in lieu of inheritance tax by the state;
The current owner Musée national Picasso-Paris

Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France
Exhibition History:

Selected Literature:

Picard Audap Solanet & Associes, Millon & Associes, Les Picasso de Dora Maar, 27-28 October 1998, Hotel Drouot, Paris, p. 20, Illustrated p. 21

This work has a complete provenance for the period 1933-1945.

Pablo Picasso, Portrait of Dora Maar, forward facing, 1936-7

X77563
Portrait of Dora Maar, forward facing

[Portrait de Dora Maar, de face] 1936-7
on paper, print
Cliché verre
unconfirmed: 300 x 240 mm
Musée national Picasso-Paris Dation en 1998, ancienne collection Dora Maar. MP1998-320
Provenance:
The Artist;
In the possession of Dora Maar, until her death in 1997;
Accepted in lieu of inheritance tax by the current owner, Musée national Picasso-Paris in 1998
Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French
Identifying Marks:
Place of Manufacture: Paris, France

Exhibition history

Selected literature

This work has a complete provenance for the period 1933-1945.

Pablo Picasso
(1881-1973, born: Málaga, died: Mougins)
Dora Maar
(1907-1997, born: Paris, died: Ménerbes)

Pablo Picasso and Dora Maar, Portrait of Dora Maar, forward facing, 3rd state, 1936-7

X77560
Portrait of Dora Maar, forward facing, 3rd state

[Portrait de Dora Maar, de face, 3e état] 1936-7
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 300 x 240 mm mount: 530 x 405 mm frame: 585 x 460 x 30 mm
Musée national Picasso-Paris Dation en 1998, ancienne collection Dora Maar. MP1998-332
Provenance:
The artist, Dora Maar, until her death in 1997;
Accepted in lieu of inheritance tax by the state;
The current owner Musée national Picasso-Paris

Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artist: French and Spanish
Identifying Marks:
Place of Manufacture: Paris, France

Exhibition history

Selected literature

This work has a complete provenance for the period 1933-1945.

Pablo Picasso and Dora Maar, Portrait of Dora Maar, in profile, 7th state, 1936-7

X77562
Portrait of Dora Maar, in profile, 7th state

[Portrait de Dora Maar, de profil, 7e état] 1936-7
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 300 x 240 mm frame: 585 x 460 x 30 mm
Musée national Picasso-Paris Achat, 1987. MP1987-145
Provenance:
The Artists;
...
Collection of André Du Bouchet [b.1924, d.2001];
From whom purchased by the current owner, Musée Picasso, in 1987

Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of the artists: French and Spanish
Identifying Marks:
Place of Manufacture: Paris, France

Exhibition history

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

Unknown
Paul Eluard
(1895-1952, born: Saint Denis-de-l'Hôtel, died: Charenton-le-Pont)

Unknown and Paul Eluard, Untitled, 1920-30

X74203
Untitled

1920-30
on paper, print
Photograph, gelatin silver print on paper
unconfirmed: 50 x 50 mm frame: 427 x 325 x 25 mm
Private Collection
Provenance:
The Artist;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 081 (one of eight photgraphs);
Acquired by the current owner, a private collector
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Ménerbes, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, 5 June – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris, p.64
This work has a complete provenance for the period 1933-45.

Unknown maker
Jean Moral
(1906-1999, born: Marchiennes)

Unknown maker and Jean Moral, Untitled, 1934

X74202
Untitled

1934
on paper, print
Photograph, gelatin silver print on paper
image: 190 x 140 mm frame: 410 x 355 x 200 mm
Private Collection
Provenance:
The Artist;
Thence by descent to the estate of Dora Maar;
Sale Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Paris, Lot 081 (one of eight photographs);
Acquired by the current owner, a private collector.
Lender’s address: Private Collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of the artist: French
Identifying Marks: none
Place of Manufacture: Paris, France
Exhibition History:
Dora Maar, Centre Pompidou, Paris, France 05 June 2019 – 29 July 2019
Selected Literature:
Picard Audap Solanet and Associés, Millon and Associés, Le Photographies de Dora Maar, une dernière recontre, 19 November 1999, Hotel Drouot, Paris, p.65
This work has a complete provenance for the period 1933-45.

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

Nam June Paik

Tate Modern (London, UK) from 17 Oct 2019 until 09 Feb 2020.

Nam June Paik
(1932-2006, born: Seoul, died: Miami Beach)

Nam June Paik, Violin with String, 1961

X32668
Violin with String

1961
sculpture
Violin, twine
displayed: 570 x 180 x 70 mm
Former Hahn Collection, Museum Moderner Kunst Stiftung Ludwig, Vienna
Provenance:
Provenance:
The artist;
Acquired from the artist by Wolfgang Hahn, Cologne, by 1978;
Acquired from Hildegard Helga Hahn, Cologne, widow of Wolfgang Hahn by Museum Moderner Kunst Stiftung Ludwig, Vienna, 1978 – present

Lender’s address:
Museumsplatz 1
1070 Vienna
Austria
FN 225579i Commercial Court of Vienna

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Symphony for 20 Rooms, 1961

X32674
Symphony for 20 Rooms

1961
on paper, unique
Pencil on paper
support: 600 x 850 mm
Kunsthalle Bremen
Provenance:
Provenance:
The artist;
Acquired by Dieter Rosenkranz, Wuppertal, by 2002;
Gifted by Dieter Rosenkranz to Kunsthalle Bremen, Bremen, 2002-present
 
Lender’s address:
Am Wall 207,
28195 Bremen,
Germany
 
Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Fluxus Island in Décollage Ocean, 1962-1963

X32680
Fluxus Island in Décollage Ocean

1962-1963
on paper, unique
Ink on paper
380 x 540 mm
Kunsthalle Bremen, Germany
Provenance:
Provenance:
The artist;
Gustav Adolf and Stella Baum, Wuppertal, by 2000;
Acquired from Gustav Adolf and Stella Baum by Kunsthalle Bremen, Bremen, 2019-present
 
Lender’s address:
Am Wall 207,
28195 Bremen,
Germany
 
Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Prepared Piano, 1962 - 1963

X36349
Prepared Piano

1962 - 1963
sculpture
Piano, mixed media
unconfirmed: 1300 x 1400 x 650 mm
Arter - Vehbi Koç Foundation, Istanbul, on loan to the Neues Museum, Nuremberg
Provenance:
Provenance:
The artist, Germany;
The Block family, Berlin, by 2011;
Acquired by present owner Vehbi Koç Foundation Arter Culture and Arts Enterprise, Istanbul, 2011-present;

Lender’s address:
Nakkastepe, Azizbey Sokak No. 1
Kuzguncuk
Istanbul 34674
Turkey

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Poster for &quot;Exposition of Music-Electronic Television&quot;, 1963

X68169
Poster for "Exposition of Music-Electronic Television"

1963
on paper, print
Screenprint on newspaper
250 x 355 mm
Lent by the San Francisco Museum of Modern Art. Gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Zen for TV, 1963 (reconstructed 1990)

X68349
Zen for TV

1963 (reconstructed 1990)
time-based media
Manipulated 19-inch cathode-ray tube television
unconfirmed: 546 x 419 x 444 mm
Lent by the San Francisco Museum of Modern Art. Gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Listening to Music Through the Mouth, 1962-1963

X71227
Listening to Music Through the Mouth

1962-1963
sculpture
Gramophone cabinet with old running device, records
unconfirmed: 1059 x 489.9 x 4300 mm
Former Hahn Collection, Museum Moderner Kunst Stiftung Ludwig, Vienna
Provenance:
Provenance:
The artist;
Acquired from the artist by Wolfgang Hahn, Cologne, by 1978;
Acquired from Hildegard Helga Hahn, Cologne, widow of Wolfgang Hahn by Museum Moderner Kunst Stiftung Ludwig, Vienna, 1978 – present

Lender’s address:
Museumsplatz 1
1070 Vienna
Austria
FN 225579i Commercial Court of Vienna

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Magnet TV, 1965

X32877
Magnet TV

1965
installation
Modified 17-inch black and white cathode-ray tube television set and magnet
720 x 490 x 620 mm
Whitney Museum of American Art, New York. Purchase, with funds from Dieter Rosenkranz
Provenance:
Provenance:
The artist, 1965-1986;
Acquired by The Whitney Museum of American Art, New York City NY, 1986 – present

Lender’s address;
99 Gansevoort St,
New York,
NY 10014,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Electronic Video Recorder, Cafe au Go Go, October 4 and 11, 1965, 1965

X68172
Electronic Video Recorder, Cafe au Go Go, October 4 and 11, 1965

1965
on paper, print
electrostatic print on paper
215 x 279 mm
Lent by the San Francisco Museum of Modern Art, gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, New Cinema Festival I, 1965

X68174
New Cinema Festival I

1965
on paper, print
electrostatic print on paper
unconfirmed: 279 x 215 mm
Lent by the San Francisco Museum of Modern Art, gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Life Ring 66, 1966

X70630
Life Ring 66

1966
sculpture
copper wire, electrical tape, masking tape, and string
support: 1041 x 812 mm
Lent by the San Francisco Museum of Modern Art
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, World First Video-Tape Monthly Magazine, 1967

X68175
World First Video-Tape Monthly Magazine

1967
on paper, print
electrostatic print on paper
unconfirmed: 215 x 279 mm
Lent by the San Francisco Museum of Modern Art, gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Do you know, 1973

X68177
Do you know

1973
on paper, print
Screenprint on paper
unconfirmed: 231 x 306 mm
Lent by the San Francisco Museum of Modern Art, gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Egomachine, 1974

X32672
Egomachine

1974
sculpture
Typewriter and paper
displayed, typewriter: 100 x 300 x 400 mm support, paper: 300 x 210 mm
Former Hahn Collection, Museum Moderner Kunst Stiftung Ludwig, Vienna
Provenance:
Provenance:
The artist;
Acquired from the artist by Wolfgang Hahn, Cologne, by 1978;
Acquired from Hildegard Helga Hahn, Cologne, widow of Wolfgang Hahn by Museum Moderner Kunst Stiftung Ludwig, Vienna, 1978 – present

Lender’s address:
Museumsplatz 1
1070 Vienna
Austria
FN 225579i Commercial Court of Vienna

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, TV Buddha, 1974

X32698
TV Buddha

1974
installation
18th century woodensculpture, closed-circuit television camera and JVC Videosphere cathode-ray tube television
Dimensions variable
Stedelijk Museum, Amsterdam
Provenance:
Provenance:
The artist, 1974-78;
Acquired by Galerie René Block, 1977-78;
Acquired by Stedelijk Museum, Amsterdam, 1978 -present

Lender’s address:
Museumplein 10, Kuyen2019
1071 DJ Amsterdam,
Netherlands

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, It rains in my TV as it rains in my heart, 1974

X68178
It rains in my TV as it rains in my heart

1974
on paper, unique
watercolor on paper
unconfirmed: 450 x 304 mm
Lent by the San Francisco Museum of Modern Art, gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Untitled (Moon and Buddha), 1978

X68180
Untitled (Moon and Buddha)

1978
on paper, unique
ink on paper
unconfirmed: 644 x 482 mm
Lent by the San Francisco Museum of Modern Art, gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Untitled (TV Buddha), 1978

X68181
Untitled (TV Buddha)

1978
on paper, unique
ink on paper
unconfirmed: 644 x 482 mm
Lent by the San Francisco Museum of Modern Art, gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Chongro Cross, 1991

X35789
Chongro Cross

1991
installation
Eight 9-inch cathoderaytube televisions, four lightboxes with four gelatin silver prints on transparency, various Korean folk objects, concrete hat, wood and two video channels, black and white and colour, silent
displayed: 2063 x 1212 x 393 mm
Lent by the San Francisco Museum of Modern Art, Phyllis C. Wattis Fund for Major Accessions
Provenance:
Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Untitled (John Cage), 1996

X68183
Untitled (John Cage)

1996
on paper, unique
graphite, pastel, and collage of playing cards on paper
unconfirmed: 498 x 647 mm
Lent by the San Francisco Museum of Modern Art, gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Untitled (Charlotte Moorman), 1996

X68185
Untitled (Charlotte Moorman)

1996
painting
Inkjet print on canvas
unconfirmed: 457 x 596 mm
Lent by the San Francisco Museum of Modern Art, gift of the Hakuta family
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Three Camera Participation/Participation TV, 1969-2001

X70629
Three Camera Participation/Participation TV

1969-2001
time-based media
Three closed-circuit television cameras, tripods, custom-made video buster amplifier, video projector and cathode-ray tube monitor
Dimensions variable
Kunsthalle Bremen, Germany
Provenance:
Provenance:
The artist;
Si and Dieter Rosenkranz, by 2013
Gifted by Si and Dieter Rosenkranz to Kunsthalle Bremen, Bremen, 2013 – present
 
Lender’s address:
Am Wall 207,
28195 Bremen,
Germany
 
Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik, Self-Portrait, 2005

X68187
Self-Portrait

2005
installation
Cathode-ray tube television casing with 10-inch liquid-crystal display monitor, permanent oil marker and video, colour, silent
unconfirmed: 349 x 463 x 495 mm
Lent by the San Francisco Museum of Modern Art, Phyllis C. Wattis Fund for Major Accessions
Provenance:

Provenance:
The artist;
Succession to the Estate of the Artist, 2006-2015;
Acquired from the Paik Estate by San Francisco Museum of Modern Art, San Francisco CA, 2015 – present

Lender’s address:
151 3rd St,
San Francisco,
CA 94103,
USA

Nationality of Artist: Korean
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik
(1932-2006, born: Seoul, died: Miami Beach)
Joseph Beuys
(1921-1986, born: Krefeld, died: Düsseldorf)

Nam June Paik and Joseph Beuys, Piano Duet, 1981

X75931
Piano Duet

1981
on paper, print
54 screen prints on playing cards in linen-covered box, screen print mounted to lid
unconfirmed: 220 x 188 x 30 mm
Lent by the Harvard Art Museums/ Busch-Reisinger Museum, The Willy and Charlotte Reber Collection, Louise Haskell Daly Fund
Provenance:

Provenance:
The artist;
Willy and Charlotte Reber, Basel and Valbella, Switzerland, after 1986 - 1995;
Acquired by Harvard Art Museums, Cambridge MA, 1995-present

Lender’s address:
32 Quincy St,
Cambridge,
MA 02138,
USA

Nationality of Artist: Korean and German
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

Nam June Paik and Joseph Beuys, In Memoriam George Maciunas, 1984-1986

X75930
In Memoriam George Maciunas

1984-1986
sculpture
Portfolio of felt sculpture, wood sculpture, two phonograph records, and screenprint in wood box
object: 515 x 617 x 450 mm (open)
Lent by the Harvand University Art Museums/Busch-Reisinger Museum, The Willy and Charlotte Reber Collection, Louise Haskell Daly Fund
Provenance:
Provenance:
The artist;
Willy and Charlotte Reber, Basel and Valbella, Switzerland, after 1986 - 1995;
Acquired by Harvard Art Museums, Cambridge MA, 1995-present

Lender’s address:
32 Quincy St,
Cambridge,
MA 02138,
USA

Nationality of Artist: Korean and German
Identifying marks:
Place of manufacture:
 
This work was made after the operative period 1933-45.

British Baroque: Power and Illusion

Tate Britain (London, UK) from 05 Feb 2020 until 19 Apr 2020.

Benedetto Gennari
(1633-1715, born: Cento, died: Bologna, active: Bologna, Paris, London, Saint-Germain-en-Laye)

Benedetto Gennari, The Annunciation, 1686

X76096
The Annunciation

1686
painting
Oil paint on canvas
support: 2553 x 2102 mm frame: 2718 x 2248 x 64 mm
Collection of The John and Mable Ringling Museum of Art, the State Art Museum of Florida, Florida State University, Sarasota, Florida.
Provenance:
Painted for James II (1638-1702), King of England, Whitehall Palace, London. (Leger Galleries, London); sold by 1931 to John Ringling (1866-1936), Sarasota, Florida; bequest in 1936 to the John and Mable Ringling Museum of Art, Sarasota, Florida
Nationality of artist: Italian
Identifying marks: None
Place of Manufacture: London, England
Catalogue Raisonné: Bagni, 'Benedetto Gennari e La Bottega del Guercino', Nuova Alfa Editoriale, Bologna, 1986, no.66