Save
Save chapter to my Bookmarks
Cite
Cite this chapter
Print this chapter
Share
Share a link to this chapter
Free
Jack Flam (Editor), Katy Rogers (Editor), Tim Clifford (Editor)
Description: Robert Motherwell: Paintings and Collages (A Catalogue Raisonné,...
This catalogue raisonné includes detailed entries for all of the known paintings, collages, and paintings on paper executed by Robert Motherwell...
Author
Jack Flam (Editor), Katy Rogers (Editor), Tim Clifford (Editor)
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00105.017
View chapters with similar subject tags
Usage Guide to the Catalogue Entries
WHAT IS INCLUDED AND HOW IT IS ORGANIZED
This catalogue raisonné includes detailed entries for all of the known paintings, collages, and paintings on paper executed by Robert Motherwell between the summer of 1941 and his death in July 1991. The 1941 starting date for the catalogue raisonné of Motherwell’s paintings and collages is based on Motherwell’s own judgment that maturity as an artist began in the summer of that year, when he definitively decided to become a painter and produced his first mature works during a trip to Mexico.
To provide a context for the paintings and collages in the catalogue raisonné proper, we have also included reproductions of all known surviving unique works in all mediums done by Motherwell before the summer of 1941 in an Early Works section, which follows immediately in this volume. These works are designated by a prefix of EW and assigned roman numerals.
This publication has been sponsored by the Dedalus Foundation, which was created by Robert Motherwell and inherited all of his studio records and personal archives, along with almost all the works of art in his possession at the time of his death. All studio records and personal archives—including studio photographs, datebooks, and studio inventory cards—that are referred to in this publication can be found in the Dedalus Foundation Archives. Any such materials that come from another source are noted as such.
The coauthors, in consultation with the Scientific Committee of the Dedalus Foundation’s Robert Motherwell Catalogue Raisonné Project, have reviewed and unanimously decided upon the works included in this catalogue raisonné, which reflect our knowledge as of July 31, 2009. Works that came to our attention after that date will be included in a later supplement. Ownership information, exhibitions, and references are current until roughly the middle of 2010.
The three volumes of this publication are organized as follows. The first volume contains essays about Motherwell’s career as an artist, along with a detailed chronology of his life, a comprehensive list of solo and group exhibitions of his work, and a bibliography that includes writings by him and about him, as well as references to documentary films. The second and third volumes contain the catalogue raisonné entries for Motherwell’s paintings and collages. Each of those volumes contains a “Key to the Catalogue Entries,” which is a concise version of the information contained in this Usage Guide. Within those volumes, we have divided Motherwell’s works into three different categories, based on their mediums and supports: (1) paintings on canvas or panel; (2) collages; (3) paintings on paper or paperboard. The works in each category are presented separately, in chronological order, and are numbered separately, with a different prefix before the catalogue raisonné numbers in the different categories: P for paintings on canvas and panel; C for collages; and W for paintings on paper and paperboard. The paintings appear in the second volume, and the collages and paintings on paper appear in the third volume.
In this publication, a painting is a work executed (either wholly or in part) in the medium of paint—such as oil, acrylic, alkyd enamel, casein, tempera, or shellac—on a support of canvas, canvas board, wood, Masonite, Upson board, Bone Board, or any other composite board panel (other than paperboard).
A collage is a work in any medium, on any support, that has a pasted-on (or, more rarely, taped-on) element or elements.
A painting on paper is a painting executed in the medium of paint (as described above) on a support of paper or paperboard (board composed of pulp without added wood particles, such as rag board, illustration board, cardboard, Tycore, or mat board), or on Mylar or any similar kind of flexible plastic sheet.
Drawings, a fourth medium in which Motherwell worked extensively, are not included in this catalogue raisonné, but will be published in a subsequent catalogue dedicated to his drawings. For the purposes of this publication, drawings are works on paper without a collage element that are executed exclusively in dry mediums (such as graphite, charcoal, or crayon), in fluid mediums other than paint (such as ink, watercolor, or gouache, which is an opaque form of watercolor), or in both the dry and fluid non-paint mediums listed above.
CHRONOLOGICAL SEQUENCING OF THE WORKS
The works within each of the three different medium categories in this catalogue raisonné (designated by the prefixes P, C, and W) have been arranged in chronological order. When we sequenced works within a year, three factors played a substantial role in determining the precise placement of a work within the sequence for that year: the exact date of execution of the work (if known); stylistic affinities with other works; and (when applicable) how the work relates to a numbered series of works. For the date of execution, we were informed by inscriptions that Motherwell sometimes made on works (for example, the day and month within a year), and also by studio documents, photographs, correspondence, gallery records, and exhibition records. In the absence of documentary information that would allow us accurately to date and place a work in the chronological sequence, stylistic affinities were used as guides for its placement. Such affinities range from general ones, such as formal similarities with other works, to features as specific as the use of collage elements torn from the same piece of paper, similar kinds of brush marks, or the use of a similar color palette. When pertinent, we give a rationale regarding placement in the Comments for the work.
As a general rule, we have grouped together works in a numbered series that were done around the same time, especially when the available chronological information about individual works within a series is not strong enough to override the series sequencing. Motherwell was erratic in his numbering of series, which often contain both gaps and repetitions. So when a specific date is known for a work within a series that separates it from the rest of the series, we sometimes allow the date to take precedence over the work’s relationship to other works in the series. In the Open series, however, we have given precedence to numerical order even though the numbering clearly deviates from the exact chronology of the works. The first 175 Open paintings were done within a relatively short period of time, and Motherwell himself kept a detailed, numbered list of them, but the paintings were frequently numbered in groups, some time after they had been done.
THE STRUCTURE OF THE ENTRIES FOR THE INDIVIDUAL WORKS
In each entry, information about the work is given in the following order:
Catalogue Raisonné Number
Title
Alternative Title(s)
Date
Materials (Mediums and Supports)
Dimensions
Inscriptions
Artist’s Studio Number
Present Owner
Provenance
Exhibitions
References
Comments
CATALOGUE RAISONNÉ NUMBER
Each catalogue raisonné number includes a prefix letter (P, C, or W) that designates its medium category. Works within each category are numbered separately and preceded by a letter that designates the category to which they belong: P1P1209 for paintings on canvas or panel; C1C889 for collages; and W1W722 for paintings on paper or paperboard. Within each category sequence, the numbering reflects the general chronological order of works within the sequence.
TITLE AND ALTERNATIVE TITLE(S)
We prefer titles that are inscribed on the work, that were used in public exhibitions or publications of the work, or that reflect Motherwell’s stated preference as the title of the work. But these three kinds of information sometimes conflict: inscribed titles sometimes refer to earlier versions that have been radically altered; titles used in public exhibitions were sometimes later changed; and many works that remained in the artist’s studio were never given formal titles.
Works that remained in Motherwell’s studio were often given “studio titles”—descriptive titles that were normally entered on the 5 x 8–inch inventory cards known as “studio cards” (see “Artist’s Studio Number,” below). These descriptive titles were meant to facilitate identification of works in the studio by noting salient characteristics of form and color, as in Untitled (Black Vertical Stroke on White) (P330). Sometimes pictures went out into the world with such titles, but more frequently they were given formal titles when Motherwell consigned them to a gallery or exhibited them. Many of the works inherited by the Dedalus Foundation had been given only studio titles.
A number of works have had more than one valid title over time. Those other titles are listed under “Alternative Title(s).” They include titles that were at one time used publicly in exhibitions or publications, and titles that are inscribed on the versos of works but that have been superseded by other titles. Only alternative titles that were not the result of a misunderstanding, misspelling, or some other kind of clear error are listed here. (Such erroneous variants, however, are listed in the Exhibitions and References sections of the catalogue entries.)
TITLE
Generally, we prefer original public titles rather than later titles. But in cases where Motherwell deliberately changed the title of a work, we respect that change.
Beginning in 1977, when a comprehensive inventory system was first created for Motherwell’s works, the titles were written on the studio inventory cards for the works, along with dimensions, mediums, and other relevant data. After his death, some untitled works that had remained in his studio were given generic subtitles—for example, Untitled (Iberia) (P263). In some cases titles used during Motherwell’s lifetime were forgotten or overlooked and replaced by the Dedalus Foundation. This was the case with Black Plant and Window of 1950 (P103), which was exhibited under that title three times during Motherwell’s lifetime, but retitled Black Figuration on Blue after his death. In such cases, we have either noted that the title was posthumous or, if possible, restored the historical lifetime title, as with P103, for which the posthumously assigned title is now given as an alternative title. In no case, though, do we give a work a new title.
Motherwell frequently changed even the public titles of his works, sometimes giving the same work several different titles, as with Doorway with Figure (P88); any earlier titles are listed under “Alternative Titles.” In establishing the title of a work, we have given priority to the earliest title or titles given to the work by the artist, rather than to later titles assigned by others. But sometimes the artist’s intentions have been obscured by the passage of time and the flow of events. For example, sometimes Motherwell (and others) forgot the original titles of his works, even when they were inscribed on the back, as with Mariner (P80) or Singing Yellow (P403). Sometimes he himself deliberately changed the title of a work years after it was done, as with The Homely Protestant (Bust) (P84). Sometimes he revised a work and gave a new title to the revised version, as with Wall Painting with Stripes (P16); sometimes other people changed his original title and he accepted the change, as with The Best Toys Are Made of Paper (C48). Occasionally, a work acquired a title that was not given by the artist but that nonetheless became associated with it; for years, Personage (Autoportrait) (C8) was mistakenly called Surprise and Inspiration. So although we have preferred to restore original titles whenever possible, whether to do so was not always a clear or straightforward process, as the reader will see in several of the catalogue entries.
For works that were not given a definitive title by the artist, we have proceeded as follows: If the work was given only a descriptive studio title or subtitle during the artist’s lifetime, we have used the code of square brackets [ ] around the title. This is especially relevant for untitled works that were given parenthetical subtitles on the studio cards, which can be understood as an implicit endorsement by the artist, during his lifetime, of a descriptive subtitle; for example: [Untitled (Ochre, Gray, Scarlet Open)] (P511). If the work was titled or subtitled posthumously, we use the code of braces { } around the title or alternative title; for example: {Untitled (Iberia)} (P263). These codes, it should be noted, are used only in the entries for this catalogue raisonné. When such works are referred to elsewhere in this publication, the brackets and braces are not used. If a painting is unfinished, its title is given as: {Unfinished painting}. If the title of a painting is not known it is given as: {Title unknown}.
Our title sometimes varies slightly from the title inscribed on the verso of a work, especially with regard to the absence of commas in our title and in our use of “No.” for “#” in the titles of works that are part of a numbered series. Generally, we prefer to leave out superfluous commas in titles; for example, despite the slight change in emphasis we prefer In White with Beige No. 1 to In White, with Beige No. 1. (Motherwell himself was inconsistent in his use of commas and number signs in titles; commas in the titles inscribed on the versos of works were frequently dropped in studio records or publication captions, and number signs were often replaced by “No.”)
ALTERNATIVE TITLE(S)
Alternative titles are listed in chronological order, beginning with the earliest. Some alternative titles were public titles, while others were not (for example, a title that appears on a studio inventory card, a studio list, or a gallery shipping list). Minor, incidental variations—such as the absence, presence, or change of articles (The, A, An)—and minor changes in prepositions generally are not noted as alternative titles or noted in published sources (in the Exhibitions and References). Errors regarding titles in published sources are noted only in the Exhibitions and References, not in the Alternative Title line.
When an alternative title refers to an earlier, effaced or repainted work, the title of the effaced or repainted work remains in the Alternative Title line and is usually discussed in the Comments.
TITLES OF SERIES IN GENERAL
Works that are part of a series, whether done at the same time or done over a period of several years, are given normative titles without a comma before the number of the work within the series. For example, we prefer Bull No. 4 to Bull, No. 4. We use No. to designate “Number,” even if the title inscribed on the back of the work uses a number sign to designate the number of the work within the series.
Motherwell himself—and various publications—often alternated between the use of Roman numerals and Arabic numbers, even for the same work. We aim to be consistent within individual series, guided by the kind of numeral used by Motherwell in inscriptions on the works within a series, and by the kinds of numerals used in publications; for example, Zen III (P699), but Beside the Sea No. 1 (W127). Any small variations in titles (such as Roman vs. Arabic numbers, etc.) are generally given—if given at all—as alternative titles, but not in the Exhibitions or References.
TITLES OF WORKS IN THE ELEGY TO THE SPANISH REPUBLIC SERIES
The numbered works in the Elegy to the Spanish Republic series have all been given titles without commas and in most cases use the abbreviation “No.” to designate “number” (even if the original title used “Number” or “#” to designate the number of the work within the series). The Elegy paintings that were given Roman numerals, however, do not include No., following Motherwell’s own practice as evidenced with Elegy paintings whose versos we have been able to examine.
Not all the Elegy paintings were numbered, and the numbering was full of gaps. But among the Elegy paintings that Motherwell did number, the numbers assigned to paintings, paintings on paper, and drawings were part of a single sequence that included works on various kinds of supports. He gave some Elegy pictures Roman numerals—a practice that ended at number XL; after that, he used Arabic numbers. The use of Arabic numbers or Roman numerals in exhibition catalogues and publications, however, often depended on the house style of the museum or publisher. In order to reflect Motherwell’s actual practice, the numbered Elegy pictures have been given Roman numerals through number 40 (as in Elegy to the Spanish Republic XXXIV, P156). Elegies with numbers greater than 40 have been given Arabic numbers (as in Elegy to the Spanish Republic No. 70, P220). Variations in the use of Arabic and Roman numerals, or in punctuation, are not noted under References and Exhibitions.
TITLES OF THE WORKS IN THE OPEN SERIES
Published references to the Open paintings (as to other Motherwell series) are full of inconsistencies. (H. H. Arnason, for example, used different forms for the titles of the Opens in his books as distinct from his articles.) In this catalogue raisonné, the Open paintings through mid-1970 are whenever possible given their original descriptive titles, taken from Motherwell’s own May 26, 1970, list of the paintings in the Open series, which is the most extensive list of a series of paintings that he ever put together. The word Open is followed by No., and the (Arabic) number is followed by a colon, which is in turn followed by a descriptive subtitle, as in Open No. 9: In Green on Gray with Black Stripe (P406). (When the Marlborough-Gerson Gallery first showed the Opens in 1969, they used British-style single quotation marks around the word Open, but we do not.) If an Open work was subsequently revised and retitled, the original title is given in the Alternative Title line. If only the number of an Open painting is given in a publication, without a descriptive subtitle, or if prepositions in the descriptive subtitle are different, these features are not pointed out in the References.
FOREIGN TITLES
Translations of Motherwell’s English-language titles in foreign exhibitions or publications are not given as alternative titles, but they are listed in the Exhibitions and References.
DATE
Motherwell frequently reworked his paintings and collages, sometimes years or even decades after they had been begun. As a result, the dates that he inscribed on his works frequently indicate when they were started rather than when they were finished. Often works remained in his studio continuously between the times when they were revised; but almost as frequently, they were sent out on consignment or to exhibitions, or published, or both, before they were reworked. In order to convey these different conditions in a succinct manner, dates or ranges of dates are expressed in different ways in this publication, depending on the specific circumstances under which the works were revised. Rather than expressing later revisions in parenthetical remarks—for example, 1961 (revised 1983)—we have decided to use the following protocols because they concisely convey a variety of situations.
If a work was painted in a single year, it is dated simply to that year, such as 1961, or, if the exact date is uncertain, ca. 1961. When a painting was worked on over the course of more than one year and did not leave the studio during that time, its date range is given with the starting and finishing dates separated by a dash (as in 1961–64). If a work was started in one year, then left the studio on consignment or for an exhibition before it was reworked at another time, its starting and finishing dates are separated by a forward slash (as in 1961/1964).
Sometimes Motherwell worked on pictures that remained in his studio continuously over a period of time, sent them out, then revised them if they were returned to him; in such cases, the dates are separated by both dashes and forward slashes (as in 1961–64/1973). Sometimes this process of revision after exhibition or consignment was repeated, so the date of a work can be expressed in terms as complex as 1975–77/1982/1985/1988 (see the entry for P819 in volume 2, and “The Making of a Motherwell Catalogue Raisonné,” in this volume). The placement of such a work within the chronological sequence of works in its medium category would depend on the main characteristics of its present form. A work with a history of revision as complex as this one could be placed among works from a number of different years, ranging from 1975 to 1988, depending on the nature of the revisions that were made. As the reader will appreciate, a certain amount of subjective judgment must necessarily be exercised in such cases. Pictures that were worked on at more than one time are placed according to when they took on their most salient characteristics. As a result, some pictures are placed chronologically by when they were started, while others are placed according to when they were finished, and still others are placed according to the date of a determinant intermediate state. This is because the amount and kind of reworking that Motherwell did on a picture varied quite a lot. In some cases it was relatively minor, in others a very different kind of picture emerged, and in still others the earlier picture was completely overpainted. So by necessity, the placement of works within this catalogue raisonné has been decided on a case-by-case basis.
In establishing the dates of works, we have made extensive use of photographs taken of works at various stages in their development. Whenever possible, the photographers’ inventory numbers are given in the Comments.
Our dates sometimes vary from those given in past publications, but we do not make note of previously published different dates. The dates we give are based on extensive and detailed research and supersede the dates that have been previously assigned to the works in question. Issues related to the revision and redating of works are discussed in the Comments.
MATERIALS (MEDIUMS AND SUPPORTS)
Our descriptions of the mediums and supports used in individual works have been determined by our examination of the works themselves and by information given in various documentary sources, such as Motherwell’s studio records, shipping lists, and information supplied by museums, galleries, and collectors. In a few cases, information was also obtained by chemical analysis of works.
For paintings, the order of the description of materials is as follows: paint medium, other solid materials (such as sand), graphic materials (if any), and support.
For example:
Oil on canvas
Oil and charcoal on canvas
Oil, sand, and crayon on Masonite
For collages, the order of the description of materials is as follows: paint, other solid materials such as sand (if any), pasted materials, graphic materials, and support.
For example:
Oil, pasted papers, and graphite on board
Oil, sand, pasted paper, and graphite on canvas
The main paint mediums for both paintings and paintings on paper are designated as follows: oil, acrylic, casein, and tempera; occasionally, sand or dry pigments were mixed into the paint. (Water-based paints have been variously described as tempera and casein. Although we have tried to be as precise as possible, in some cases we have received conflicting information about whether a work was executed in tempera or casein, and it has not been possible to verify exactly which was used.)
The main pasted materials in collages are paper and cardboard; sometimes other materials were used, such as wood veneer and animal skin. (While we attempt to identify, in the Comments, the sources of paper and cardboard elements, such as the brands of cigarettes and other products, we do not identify types or brands of paper in the line for mediums and supports.)
Motherwell also used a number of graphic materials in his paintings and collages, mainly charcoal, graphite, chalk, ink, crayon, Conté crayon, and China marker.
The main supports for paintings are as follows: canvas, canvas board (both commercial and studio-made), Masonite, wood, Upson board, Bone Board, or any other composite board panel other than paperboard.
The main supports for paintings on paper are as follows: paper, various kinds of paperboard (such as rag board, illustration board, cardboard, Tycore, or mat board), or Mylar and other kinds of flexible plastic sheets.
A number of works previously described as oil or alkyd enamel on “board” have in fact turned out to be on multi-plied paperboards, and are here considered paintings on paper; among these are the Frontier paintings (W49W59) that Motherwell did in Europe in 1958.
The main supports for collages are canvas, canvas board (both commercial and studio made), Upson board, paper, and paperboard.
Works executed on paper but mounted onto panel or board under the artist’s supervision have been grouped with paintings on canvas or panel if the panel or board has been painted on, is visible and therefore part of the work, or plays a role in the visual effect of the work (such as being visible under translucent areas), as in The Voyage (P87). If the mounting onto panel was not done under the supervision of the artist—for example, Gesture Series No. 1 (W373)—or if the panel is not directly visible or does not play a role in the appearance of the work, the work is considered a painting on paper and has been given a W number; for example, The Figure 4 on an Elegy (W104).
Works in graphic materials on supports with painted grounds, such as canvas, canvas board, Masonite, or toned Upson board, are grouped with paintings on canvas and panel.
DIMENSIONS
Height precedes width. Dimensions are given in inches (using fractions to the nearest eighth), followed by centimeters in parentheses (using decimals rounded off to the nearest tenth).
If the dimensions of a work are not known and cannot be approximated, they are described as “Dimensions unknown.”
INSCRIPTIONS
The Inscriptions field contains signatures, dates, and other inscriptions that appear on either the front (recto) or the back (verso) of a work. Only inscriptions in Motherwell’s own hand are included; verso inscriptions made by others and information on labels are not included. Inscriptions are recorded exactly as written; errors in spelling are not corrected or signaled by “sic.”
If the recto of a work has no inscriptions, this is noted as “Recto not signed, not dated.”
If a painting on canvas or panel has no verso inscriptions, or the verso has not been seen, this is noted as “Verso not signed, not dated,” or “Verso not seen.” If a collage or painting on paper has no verso inscriptions, or the verso has not been seen, the verso inscription line is omitted. This is because many fewer collages and paintings on paper contain verso inscriptions and because those inscriptions that may exist are usually covered by mounting and framing or have been removed by reframing.
For each work, the recto and verso inscriptions are listed separately, with the word “Recto” or “Verso” followed by a colon. The inscription itself follows the colon. In the inscription, all signatures, dates, titles, and so forth are given exactly as Motherwell wrote them. A line break in a signature or inscription is designated by a backward slash set off by a single empty space between it and whatever precedes or follows it (see examples below).
When Motherwell uses a forward slash within an inscription, we keep it as a forward slash, but in order to avoid confusion with the backward slashes that we use to designate line breaks, an empty space is not left between the forward slash and what follows it.
For example:
Verso: THE \ HOMELY \ PROTESTANT. \ /48
Additional descriptive information about the inscriptions on a work is given in square brackets or parentheses to the left of the colon. As a rule, information in square brackets to the left of the colon is italicized and indicates actions taken, such as crossing out, painting over, or circling; information in parentheses to the left of the colon is not italicized and describes the orientation or direction of the inscription, or clarifies a source of information.
Square brackets to the right of the colon enclose the portion of the inscription that is described by the bracketed action to the left of the colon:
For example:
Verso [crossed out]: [Motherwell]
If part of the inscription is illegible, this is signaled in bracketed italics to the right of the colon.
For example:
Verso [painted over]: [illegible]
RECTO INSCRIPTIONS
The positions of recto inscriptions are described as follows: upper left, upper center, upper right, lower left, lower center, lower right.
If an inscription on the recto is scratched into the paint film with a sharp instrument or drawing tool, it is described as “incised.” If an inscription on the recto is both incised and painted or written, it is described as “incised and inscribed.”
On the recto, if all or part of the signature or date (or both) is painted over, that part is described as “painted over” in italic type set within square brackets, with the part of the signature or date that is painted over also set in square brackets (but not italicized).
For example:
Recto, upper left, incised [painted over]: [RM 67]
Recto, lower left [partially painted over]: R Motherwell [62]
VERSO INSCRIPTIONS
Verso inscriptions are listed starting at the upper left. Each verso inscription that appears in a different place on the back of the work is placed on a separate line, in order to make clear the distinctive features and idiosyncrasies of the various parts of each inscription.
We indicate whether verso inscriptions are directly on the verso of the work itself, or on a backing board, stretcher, or strainer. If an inscription is not on the work itself, we specify where it is, within parentheses.
For example:
Verso (on horizontal crossbar): R Motherwell 1958
The versos of works frequently contain handwritten inscriptions that are not in Motherwell’s hand, which may include titles, dates, medium, inventory numbers, and so forth. These are not included under Inscriptions but are sometimes discussed in the Comments.
In the verso inscriptions, all signatures, dates, titles, and notations about medium and so forth are given exactly as Motherwell wrote them, including particularities or idiosyncrasies such as titles written in full capitals or set within quotation marks (no part of an inscription is placed within quotation marks unless Motherwell put quotation marks around it). A line break in a signature or inscription is designated by a backward slash set off by a single empty space between it and whatever precedes or follows it.
For example:
Verso: Robert Motherwell \ «The Sentinel» \ NYC \ October \ 1942
On the verso, if the signature or title has been crossed out or blacked out, this is noted.
For example:
Verso [crossed out]: [Motherwell]
Verso [partially painted over]: [illegible] \ R. Motherwell \ 4.XII.47–19.II.48 \ “SAILOR
If some of the words in a verso inscription have been circled or set within a triangle, this is noted before the colon, within brackets, italicized, and after the colon in brackets.
For example:
Verso [circled]: [OIL ON PANEL]
Verso [set in triangle]: [46]
A circled number inscribed in Motherwell’s hand on the verso of a work done during the years when he was represented by the Samuel M. Kootz Gallery (1945–55) designates the Kootz Gallery inventory number of the work (except in P19 and P79, where the significance of the circled numbers is unknown).
The orientation of an upside-down verso inscription (rotated 180 degrees) is given in terms of the present orientation of the picture. If a verso inscription is upside down, this is noted in parentheses.
For example:
Verso (upside down): Motherwell
Verso (upside down, with arrow pointing in opposite direction): Robert Motherwell \ 1964 \ OIL ON CANVAS
If the verso has not been seen, but auction catalogues, gallery records, studio cards, or other sources provide information about the verso, “Verso not seen” is followed by the putative inscription information, noted as “per” the provider of the information, quoted directly from the source, and placed within square brackets.
For example:
Verso not seen [“title, date, and signature on verso,” per Sotheby’s 1977]
If we have not seen the verso of a work, and the same inscription information for it is given in more than one source (such as different auction catalogues, or different gallery or studio records), we cite the earliest source. If varying amounts of information about the verso inscription appear in different sources, we cite the description with the most comprehensive information. If different sources for the verso information give conflicting descriptions of that information, we cite all relevant descriptions of the inscriptions and their sources, in chronological order, separated by semicolons.
For example:
Verso not seen [“signed RM and dated 1969 on the reverse,” per Sotheby’s 1999; “signed Motherwell and dated 1968–1972 on the reverse,” per Sotheby’s 2003]
If we have not been able to see the verso of a work, but Motherwell’s studio records give verso information, we cite the information on the studio card or other document.
For example:
Verso not seen [“signed ‘Robert Motherwell’ with date,” per studio card]
Verso not seen [“R. MOTHERWELL OCT 1970,” per studio card]
If a work has been relined and we have not been able to see the verso, we note the following:
Verso covered by relining, no longer visible
If a work that has been relined had a documented verso inscription (known by pretreatment photographs or other dependable information) that was subsequently covered by relining, we record what we know of the inscription, directly transcribed from the source.
For example (for a single work, Spanish Picture with Window, P4):
Verso covered by relining and remounting to a hollow-core panel, no longer visible (inscriptions known from a pretreatment photograph)
Verso: R. Motherwell \ 1941
Verso (on original top horizontal stretcher): SPANISH PICTURE WITH WINDOW
Verso (on original horizontal crossbar): Motherwell #1
ARTIST’S STUDIO NUMBER
Starting in 1977, studio inventory numbers, called “studio numbers,” were assigned to works in Motherwell’s possession. (See the Concordance of Catalogue Raisonné and Studio Inventory Numbers later in this volume.) These were entered on the 5 x 8–inch studio cards that were created for each individual work. The studio numbers were normally also put on the backs of the works, usually on the strainers or frames, almost always by someone other than Motherwell himself.
These studio numbers organized his works by medium (designated by a prefix, such as P for painting) and by year (expressed as a two-digit number), as in “P79” to designate a painting done in 1979. These designations of medium and year were followed by an inventory number, as in “P79-2251.”
Eventually, cards were made for earlier works that had left Motherwell’s studio before the card system was initiated (as the works were published or appeared on the market); this was an early step toward creating a complete catalogue of his works. The works that were catalogued after they had left his studio were usually given inventory numbers of 5000 and higher (for example, P57-5122 and C57-5087). This process of making new studio cards as works came to light continued after Motherwell’s death, supervised by the Dedalus Foundation.
Although the information on the studio cards is not always complete, consistent, or accurate, the cards are a valuable source of information about titles and changes in title, dates, revisions, exhibitions, and consignments. The numbering system on the studio cards established different categories between paintings (P), collages (C), and drawings (D), as well as monotypes (M) and hand-painted or unique impressions of prints (U). Those categories, however, were rather fluid during Motherwell’s lifetime (particularly P’s changed to D’s and vice versa), and the Dedalus Foundation sometimes made further changes of category—not always accurate—posthumously. Sometimes works were given more than one studio number; and sometimes the studio numbers were left incomplete, with the date or medium left blank, or replaced by fillers, such as asterisks, dashes, empty spaces, or question marks. An unfinished painting (P997) done around 1980, for example, was given the studio number “P**-???”
The medium category or date designated by the studio number for a work is sometimes different from the medium or date given in this catalogue raisonné; this is the result of new information that has been discovered in the course of our research.
If a studio number was not assigned to a work, this field is excluded in the catalogue raisonné entry for that work (as opposed to saying “No studio number”).
PRESENT OWNER
The present owner of each work is listed with the information and credit line provided by the owner. Some owners have wished to remain anonymous and are listed with some variation of “Private collection.” If a work is known to have been destroyed, we note the circumstances of its destruction, if known. An Index of Owners will be found near the end of this volume.
PROVENANCE
The past owners of each work are listed in chronological order, beginning with the first known owner after the work left the artist’s studio, and noting the year in which the work was acquired by each owner, when known. The present owner is listed as the last entry in the Provenance as well as on the Present Owner line. Auction sales are set in square brackets and include the name of the auction house, the city, date, and lot number, and whether the work is illustrated in the auction catalogue.
Past owners have sometimes wished to remain anonymous and are listed with some variation of “Private collection.” When we have not been able to contact the owner or a representative of the owner of a work, and the past or present ownership is a matter of public record (as given in an auction or exhibition catalogue, book, or periodical), we generally list the ownership as given in the published source. When we have not been able to contact the owner or a representative of the owner of a work, and past or present ownership is known only through a private source (such as correspondence, shipping lists, invoices, etc.), we list the ownership as “Private collection.”
If a work was destroyed, or is said to have been destroyed, while still in the possession of the artist, the Provenance lists the work as “The artist.” If Motherwell bought back a work after it had been sold to a collector or museum, he is listed as “Robert Motherwell” rather than as “The artist.” For works that Motherwell left to the Dedalus Foundation, the first owner in the Provenance is “Dedalus Foundation.” The Provenance does not include art dealers and galleries to whom a work was consigned; they are included only if they actually owned the work. (If consignment information is relevant to the provenance, it is dealt with in the Comments.) Gaps in the provenance are indicated by the phrase “unknown owner.”
Any unusual circumstances surrounding the provenance of a work are noted in the Comments rather than in the Provenance rubric, except for stolen works.
EXHIBITIONS
Solo and group exhibitions are listed separately and are arranged chronologically within each separate list. The abbreviated citations refer to the full citations given in the “List of Exhibitions” in this volume, in which solo and group exhibitions are listed separately and arranged chronologically within each year. When a work that appeared in an exhibition was reproduced in the exhibition catalogue, the citation for that work is given under Exhibitions rather than References. (If a work was illustrated in the exhibition catalogue but not shown in the exhibition, it is cited in the References section.) In citations of exhibition catalogues, the information is given in the following order: venue (museum, gallery, library, etc.), city, year, catalogue number, and where in the catalogue the work is illustrated.
For example:
Metropolitan Museum of Art, New York, 1969, cat. no. 253, illus. p. 231.
If a work was included in an exhibition of works from the permanent collection at the institution that owns it, we generally do not include such a presentation of the work among the Exhibitions except for such instances before 1970. But if the work was included in a monographic or thematic loan exhibition at the institution that owns it, or in a show of recent acquisitions, that exhibition is included here.
A traveling exhibition (one that was first shown at the organizing museum and then traveled to other institutions) is designated as such in italics set within parentheses, directly following the year: (traveling).
For example:
Albright-Knox Art Gallery, Buffalo, 1983 (traveling), cat. no. 58, color illus. p. 49; not shown in Los Angeles and Seattle.
A circulating exhibition is one that was organized by an institution but not shown first at that institution, and in most cases is not shown at all at the organizing institution. An exhibition that is categorized as “circulating” is listed under the organizing institution rather than the first venue on the exhibition’s itinerary; it is described within parentheses as “(circulating)” rather than “(traveling).” If a traveling or circulating exhibition had different catalogues (or checklists) at different venues, the catalogue numbers for those exhibitions are listed in the catalogue entry by the venue’s city.
For example:
Museum of Modern Art, New York, 1967 (circulating), Buenos Aires, cat. no. 6; Caracas, cat. no. 61; Bogotá, cat. no. 61; Mexico City, cat. no. 6.
When the same institution originates two or more exhibitions in the same year, the year is preceded by the month the exhibition started, as a way of differentiating between the two exhibitions.
For example:
Samuel M. Kootz Gallery, New York, March 1946.
When the same institution originates two or more exhibitions in the same month of the same year, the title of the exhibition is included along with the month and the year.
For example:
Museum of Modern Art, New York, Robert Motherwell, September 1965 (traveling).
Museum of Modern Art, New York, Robert Motherwell: Works on Paper, September 1965 (circulating).
If an exhibition did not have a proper catalogue, but only a checklist or a brochure, the expression “cat. no.” is nonetheless used to designate the numbers given in the exhibition checklist or other ephemera (our source for the “cat. no.” is described in the List of Exhibitions).
As previously noted, minor incidental variations in articles (The, An, A) or prepositions that were not noted as alternative titles are not noted in the published sources listed in References and Exhibitions. Errors or discrepancies in titles, however, are noted as erroneous when relevant. If a work was shown under an alternative title, this is noted in Exhibitions, and foreign titles are also noted and translated.
REFERENCES
The References are listed in an abbreviated form, by author and year, and are arranged chronologically and alphabetically within each year. This abbreviated form corresponds to the author and year listed in the full citation located in the Bibliography in this volume, which is also organized chronologically and alphabetically within each year by author and year. Each citation in the References includes the page numbers on which the work is discussed, illustrated, or both.
For example:
Celentano 1957, pp. 33, 107, illus. n.p. (fig. 38); Arnason 1982, p. 25, illus. p. 25 (pl. 13)
When a work in a publication was reproduced in situ—that is, in the artist’s studio, in an exhibition, or installed in a public or private collection—this is noted in parentheses following the illustration. If the work was reproduced in an early state, or in progress, that is also noted.
For example:
Janis and Blesh 1962, illus. p. 164 (fig. 220, in progress)
Arnason 1976, p. 33, illus. p. 33 (pl. 13, installation view)
Arnason 1977b, p. 86, color illus. n.p. (pl. 298, in early state)
Tyler 1977, illus. sec. F, p. 7 (in exhibition, in early state)
Arnason 1982, p. 49, illus. p. 50 (pl. 42, in exhibition)
West 1984, illus. p. 15 (in studio, in progress)
When an author is cited in two or more references within a given year, the citations are differentiated with the letters a, b, c, and so forth; these do not indicate order of importance, but rather how the citations are alphabetized in the Bibliography.
For example:
Arnason 1977a, p. 535; Arnason 1977b, pp. 12, 17–18, 28–29, 41, 72–73, 82, 97, color illus. n.p. (pl. 58)
When Motherwell is quoted discussing a work in a published source, this is indicated by an abbreviated form that contains Motherwell’s name and the source and year. The full citations for such references are located in “Writings by the Artist,” in the Bibliography.
For example:
Motherwell in Janis 1944, p. 65, illus. p. 65 (pl. 39, in early state)
When a work is reproduced only as a comparative figure in an exhibition catalogue, or when it is listed in the catalogue but did not appear in the exhibition, the citation is given under References rather than in Exhibitions. (In citations to exhibition catalogues, only works that were exhibited are listed under Exhibitions.) But in such a case, the full citation to the exhibition catalogue will be found in the List of Exhibitions rather than in the Bibliography.
The abbreviated form for an exhibition catalogue in the References gives the venue, exh. cat., and year not separated by commas.
For example:
Cleveland Museum of Art exh. cat. 1966, illus. n.p.
Errors or discrepancies in titles are cited in the References when relevant, and alternative titles are also noted, as are foreign language titles.
Auction catalogues are cited under Provenance rather than under Exhibitions or References.
COMMENTS
The Comments on the individual works are not interpretive in the broad sense but are meant to clarify fairly specific issues. These include the following: variations in titles and dates; revisions and reworkings; information about early states; the sources and significance of titles, including literary allusions and references; statements by Motherwell about the work; any special circumstances (such as a commission) surrounding the work’s inception or installation; the sources of collage elements; and conservation or condition issues.
For series of works done around the same time, the main body of information about the series is generally given in the Comments for the first work (or the first numbered work) in the series.
If a work is illustrated with a reproduction that is not of normal quality and format, the source of the reproduction is mentioned in the Comments (that it is from a Polaroid or black-and-white photograph, for example, or from an auction catalogue or a color slide).
Photographs have provided important information about the revision and dating of works. Unless stated otherwise, studio photographs are from the Dedalus Foundation Archives. For photographs taken by professional photographers, we cite the photographer’s inventory numbers whenever possible. Motherwell gave his own inventory numbers to his prints of the photographs taken by Peter A. Juley & Son, which we cite; the Smithsonian American Art Museum has subsequently posted the Juley photographs on its web site, using Juley’s negative numbers. So for Juley photographs we give both Motherwell’s archive number for the print (which sometimes had crucial information written on the verso) and the Smithsonian American Art Museum number, which always starts with “J000.” (In a few instances, there was no Motherwell archive number or no Smithsonian American Art Museum negative number; in those cases only a single number is given.)
When we describe a photograph as “early,” we mean that it was taken early in the work’s history—that is, at a time close to the creation of the work, or of a state of the work.
Usage Guide to the Catalogue Entries