Robert Motherwell
Remembering Madrid, 1969
Ca. 1974 – ca. 1980
Acrylic and charcoal on canvas
72 x 59 in. (182.9 x 149.9 cm)
Recto, upper right: RM Verso,
“Remembering Madrid \ R. Motherwell \ 1980”
Provenance
Dedalus Foundation, 1991
Exhibited
Toledo Museum of Art, Ohao, 1969, cat. no. 19 (shown in early state). as Open No. 106
Galerie im Erker, St. Gall, Switzerland, 1971 (traveling), cat. no. 3, colour illus. p. 33 (in exhibition); (shown in early state), as Open No. 106
Galerie Lelong, Paris, 2007
Literature
Flam, J., Rogers, K., Clifford, T., 2012. Robert Motherwell Paintings and Collages: A Catalogue Raisonne 1941-1991. New Haven: Yale University Press. Volume 2, p. 485, P998
Note; Alternative title Open no. 106
Robert Motherwell
Pierrot’s Hat, 1943
Watercolor, gouache, pasted papers, pasted glass button, and ink on paperboard
19 ¾ x 14 1/8 in. (50.2 x 35.9 cm)
Signed and dated in pencil lower center: ‘Motherwell 43’
Signed, dated, and inscribed verso:
Robert Motherwell/ NYC/ 6-IV-43
Provenance
Mr. and Mrs. Pierre Chareau, circa 1949
Dollie chareau, 1950 by descent;
Private Collection, 1967
Exhibited
Sammuel M. Kootz Gallery, Nw York, October 1949
New Gallery, Bennigton College, Vermont, 1959, cat. No.5, listed as Collage;
Museum of Modern Art, New York (and elsewhere) “Robert Motherwell, September 1965, cat. No 2
Robert Motherwell
Country Life, 1967
Acrylic, pasted papers, and graphite on paper
30 ½ x 22 ¼ in. (77.5 x 56.5 cm.)
Recto, upper left: “RM 67” Artist’s Studio Number: C67-1496
Provenance
The Dedalus Foundation
Private collection
Literature
Pierre Volboudt, “Perspectives de Robert Mothers,” XXe Siecle XXV, no. 40, June 1973, p. 84.
Robert Motherwell: A Catalogue Raisonne, 1941-1991.Vol 3. (New Haven: Yale University Press, 2012), 120, C188
The title of this work refers to part of an envelope with a mailing label (postmarked August 10, 1967) from Country Life, an English magazine that Motherwell was especially interested in at this time. In the catalogue to his 1972 collage retrospective at the Museum of Fine Arts, Houston, Motherwell wrote: “Around this time, I began to dream of a country studio--- New York swallowed my time and energies---but near to either London or New York, and so subscribed to the British Country Life which carries numerous photographs of country places for let or sale (I ended up in Greenwich, Connecticut in January 1970 after 30 years in New York )” (Motherwell in Museum of Fine Arts, Houston, exh. cat. 1972, p. 76). Motherwell used Country Life mailing labels in three other collages (C180, C205, and C212)