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 FUTURISM

A Modern Focus

THE LYDIA AND HARRY LEWIS WINSTON COLLECTION

Dr. and Mrs. Barnett Malbin

THE SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK

Published by

The Solomon R. Guggenheim Foundation

New York, 1973

Library of Congress

Card Catalogue Number: 73-86860

© The Solomon R. Guggenheim Foundation, 1973
Printed in the U.S.A.
 Table of Contents

Thomas M. Messer Preface and Acknowledgements

Linda Shearer Beyond Futurism: The Winston /Malbin Collection

Marianne W. Martin 19 Futurism Now

2-9 Works in the exhibition:

30 Paintings, Sculpture, Works on Paper

207 Umberto Boccioni: Drawings and Prints

229 Documents and Miscellany in the exhibition

231 Documentation

235 A Listing of the Collection

The Solomon R. Guggenheim Foundation

PRESIDENT Peter O. Lawson-Johnston

TRUSTEES H. H. Arnason, Eleanor Countess Castle Stewart,

Joseph W. Donner, Mason Welch Gross, Henry Allen Moe,

A. Chauncey Newlin, Mrs. Henry Obre, Daniel Carton Rich,
Albert E. Thiele, Michael F. Wettach, Carl Zigrosser.

The Solomon R. Guggenheim Museum

DIRECTOR Thomas M. Messer

STAFF Henry Berg, Deputy Director; Linda Konheim, Administrative Officer;

Agnes R. Connolly, Auditor; Susan L. Halper, Administrative Assistant;

John P. Rafferty, Managerial Assistant.

Louise Averill Svendsen, Curator; Diane Waldman, Curator of Exhibitions;

Margit Rowel], Curator of Special Exhibitions; Carol Fuerstein, Editor;

Linda Shearer, Research Fellow; Mary Joan Hall, Librarian; Ward Jackson,

Archivist; Cheryl McClenney, Sabine Rewald, Coordinators.

Orrin Riley, Conservator; Lucy Belloli, Assistant Conservator;

Saul Fuerstein, Preparator; Robert E. Mates, Photographer; Susan Lazarus,

Assistant Photographer; David Roger Anthony, Registrar; Elizabeth M. Funghini,

Cherie A. Summers, Assistant Registrars; Dana Cranmer, Coordinator.

Anne B. Grausam, Officer, Public Affairs; Miriam Emden, Members'

Representative; Darrie Hammer, Information; Carolyn Porcelli, Coordinator.

Peter G. Loggin, Building Superintendent; Guy Fletcher, Jr.,

Assistant Building Superintendent; Charles F. Banach, Head Guard.

East end of Malbin home, from garden
Mr. and Mrs. Harry L. Winston boarding Queen Elizabeth, 195 1, Cherbourg, France. In package is Sevenni's Sea = Dancer
Preface and Acknowledgements

Meaningful collecting is both object and idea bound. Neither "taste" operating in a conceptual vac-
uum, nor "systems" that arrange items within a preconceived pattern will yield live and rewarding
results. The former tends to produce capricious fragments, the latter translates the objectives of the

stamp collector into an area where these do not apply. Dr. and Mrs. Barnett Malbin's Lydia and
Harry Lewis Winston Collection avoided both pitfalls from the outset. Harry and Lydia Winston,
who started the collecting process many years ago, and Dr. Barnett Malbin who, at Lydia's side,

continued the work in recent years, were all committed to an attentive scrutiny of individual works
as well as to a functional placement of such works within the collection as a whole. It is this parallel

awareness that determined the authority of the effort and the quality of the result.

The key concept in the Winston Collection is Futurism; and it is the quantity and quality of

Futurist works that confer a particular status upon the collection and that assure its distinctive-

ness and character. But Futurism in the Winston Collection merely provides the main accent.

Cubism and Purism, Dada and Surrealism, as well as some European and American currents of the

post-war era are not only represented but have become an integral part of a visual unity, in fact, a

study in visual relationships between styles of modern art. Boccioni, Balla, and Severini — the great

trio of Futurist artists — are represented by key examples in various media, and in relatively large
numbers. The Italian contingent is rounded out by the painters Russolo, Carta and Sironi and
the sculptor Medardo Rosso. From this Italian core, the collection moves easily into Cubism where
Picasso, Braque, Leger and Gris are supported by Delaunay, de La Fresnaye and Gleizes. In a dif-

ferent direction the Futurist center radiates toward Dada and Surrealism, as witnessed by a group
of carefully chosen Schwitters, some Arp sculptures and works on paper. Max Ernst, Picabia and
a marvelous Miro oil. The Guggenheim selection here attempts to follow the collection's impar-

tiality toward medium. Archipenko is shown in works on paper as is Max Ernst, while the sculp-

tors Brancusi, Calder, Giacometti, Lachaise, Laurens, Moore and Pevsner are represented by their

most characteristic three-dimensional achievements. While the Winston Collection remains, for
the most part, a grouping of European modernists of the now classical phase, post-war develop-
ments are by no means neglected. Tobey, Pollock, Louis, Noland and Stella represent an impor-
tant segment of the collection's American holdings while Appel, Jorn, and Corneille, as well as

examples from the School of Paris, furnish the European counterpart.

Those who create objects, or shape words into meaningful expressions or those who aim for
tonal resolutions, are mirror makers. Their need is to fashion something that will return their own
image, something that will allow them to see themselves in the reflection of their work. This com-
mon need for mirrors is by no means restricted to artists, unless we use "artist" in the broad sense
of creative man at large. An art collection becomes a composite art-form when shaping instincts
are translated into formal entities. In works of art, as in the collecting process, the capacity for
ordering is rare, and objects therefore mostly remain devoid of meaning just as object assemblages
fail to achieve significance. Exceptions to this situation are therefore particularly satisfying. Dr.

and Mrs. Barnett Malbin's Lydia and Harry Lewis Winston Collection exemplifies an attainment
of the collector's clear and positive mirror-image that is the result of authentic involvement and of
serious, knowledgeable striving.
 I am grateful to the numerous individuals within and outside the Guggenheim Museum who
have been involved in the organization and presentation of the exhibition and its accompanying
catalogue. In particular I would like to thank Linda Shearer, Research Fellow at the Guggenheim,

who has worked on all phases of the project, assisted in the selection of works for the exhibition

and contributed an essay to the catalogue. Also central to the success of the undertaking was the
participation of Marianne W. Martin, Professor at New York University and author of the second
catalogue essay. Mrs. Martin's special knowledge of Futurism made her generous advice invaluable

to us. Ellen Sharp and Paul Binai of the Graphics Department of the Detroit Institute of Arts as-

sisted with the Boccioni drawings and Jane Hickey, who has kept Lydia Malbin's extensive rec-
ords up to date, has also been most helpful. Marianne Martin, in turn, expresses her gratitude to
Joan M. Lukach of Cambridge, Massachusetts and Piero Pacini of Florence for their help, while
Linda Shearer is indebted to William A. Camfield, Houston and to Sidney Geist, New York for

clarifying matters of scholarly importance. The entire Guggenheim staff has contributed its time
and skills and the following should be singled out for their direct participation: Roger Anthony,
Carol Fuerstein, Linda Konheim, Beverly Liftman, Sabine Rewald and Orrin Riley.

THOMAS M. MESSER, DIRECTOR

The Solomon R. Guggenheim Museum

Dr. and Mrs. Barnett Malbin in Library of Malbin home

Beyond Futurism: The Winston/Malbin Collection

Lydia Winston Malbin grew up in Detroit in an atmosphere of devotion to the highest cuhural
aims. Her father was the innovative industrial architect Albert Kahn (1869-1949). He amassed an
important library of rare books and filled his home with art; his greatest architectural achieve-

ments, like the Packard Motor Car Co. {1903-05) and the Chrysler Corporation de Soto Press

Shop (1936), foreshadow much contemporary architecture. His daughter's collection demonstrates

her own particular understanding of the forces of the twentieth century. Its encyclopedic scope
reflects the numerous creative responses to the unique demands of our time.

Surrounded by art from childhood, it was not until the late 1930's that Mrs. Malbin began to
collect seriously. In 1938 she had the good fortune to meet Alfred Stieglitz, who then had his Amer-
ican Place Gallery. He discussed modern art with her at great length and encouraged her burgeon-
ing taste for the abstract. Among the first modern works she acquired were two Marins, two Fein-

ingers, a Chagall and a Soutine which represent her early interest in both American and European
art. By 1945 Mrs. Malbin had come into contact with Rose Fried, whose Pinacotheca Gallery even-
tually became the Rose Fried Gallery, which she often visited when she was in New York. Mrs.
Malbin frequently acknowledges Mrs. Fried's important role in the formation of her collection:

she had championed Arp, van Doesburg, Gabo, Kandinsky, Lissitzky, Mondrian, Picabia and
Schwitters at a very early time. As the body of works grew, so did its scope. Yet, remarkably, de-
spite the increasing range, a distinct direction began to emerge, for the collection evolved into one
of the finest collections of Futurism extant.

Arp understood the fullness and diversity of the Winston/Malbin collection when he said:

At the one pole the "Winston collection contains works whose beauty has not been touched by
the eternal transformation of the ephemeral. Among those I would include the works of Mon-
drian, van Doesburg, Albers, Freundlich, Herbin, Lissitsky, Pevsner and Gabo. At the opposite
pole are to be found Boccioni, Masson, Pollock and Schwitters.'

Arp implicitly poses the question of whether it is possible for the apparent opposition to be
resolved. Can Arp and Albers or Miro and Mondrian co-exist with their dissimilarities of inten-
tion and inspiration, which extend to the point of openly stated antagonisms of the esthetic sen-
sibility? Can an awareness of twentieth-century art be revealed through a seemingly chaotic
assembly of work? Arp seems to be emphasizing precisely the potefitial for such contradiction be-
tween the two fundamentally different approaches — romantic/classical, open/closed, multiple/uni-
fied, the commitedly political/the purely esthetic. A confrontation of this nature is central to the
Futurists" art; from such a collision a synthesis emerges to form a higher vision.

Let us leave Wisdom behind like a horrible mine . . . Let us throw ourselves to be devoured by
the LJnknotvn, not because we are desperate, but simply to enrich the bottomless reservoirs of
the Absurd. r t- xa ^^- ^
F. T. Martnettt, 1909

1. Jean Arp, "Serious and Droll Speculations," Collecting Modern Art, exhibition catalogue, Detroit In-
stitute of Art, 1957-58, p. 28

2. F. T. Marinetti, "First Futurist Manifesto," quoted in Marianne W. Martin, Futurist Art and Theory:
1909-19 rj, Clarendon Press, Oxford, 1968, p. 40
 0«e >nust start with the central nucleus of the object one wants to create, in order to discover
the new forms which connect it invisibly and mathematically to the visible plastic infinite and
to the interior plastic infinite. The new plasticity will thus be the translation in plaster, bronze,

glass, wood, or any other material, of atmospheric planes that link and intersect things. 'What

I have called physical transcendentalism can render plastically the sympathies a?td mysterious
affinities which produce the reciprocal and formal influences of the objects' planes.

Umberto Boccioni, 1912''

The range of Futurist theories opened up countless areas for other artists. The Dada and Surrealist

movements developed directly out of ideas such as those expressed by Marinetti, while the Russian
Constructivists were able to actualize what Boccioni had vehemently advocated but never realized

in full. The international repercussions of the Futurists are due largely to their proselytizing mani-

festos and lecture tours. In addition, it has been observed that Boccioni's 1913 sculpture exhibition
in Paris seems to have left an impression on a variety of artists: see Brancusi's Prodigal Son, 1915,

Duchamp-Villon's The Horse, 1914, Archipenko's Boxers, 191 3, all of which evidence a new ele-

ment of dynamic and assymetrical thrusts of space and mass.'' But without doubt, the greatest im-
pact of Futurism occurs in the two seemingly opposed movements of Dada/Surrealism on the one
hand, and of Constructivism on the other.
The initial Futurist movement was cut short by World War I; by 1916 Dada had grown out of
it. Artists reacted in various ways to pressures exerted by the War. The Futurists had welcomed
War enthusiastically since they felt it heralded the destruction of all traditional values. However
the Dadaists' social point of view is negative and cynical: war and its attendant death and devas-
tation is to them one expression of society's decay. In Germany particularly, where the economic
depression was most severe, the Dada spirit was most active. Dadaists like Arp, Ernst and Schwit-
ters in Germany and Duchamp and Picabia in New York and Paris created an art form as revolu-

tionary as the Futurists had — an idiom which was a unique expression of the period. Irreverence
and love of nonsense, blasphemy and political activism exists in both Dada and Futurism, tying
them together on one level.

On a more substantial level, the two movements are related by an overriding faith in the artist's
intuitive powers. Reinforced in part by the philosophy of Bergson and Nietzsche, men like Arp,
Ernst and Schwitters recognized the need to return to a near-primary state in order to establish a
non-static viewpoint that encouraged the artist's most personal expression and reflected the fluc-

tuating and changing nature of life. Arp evolved one such solution. Speaking of his and Sophie
Taueber's work of c.1915, Arp wrote:

We rejected everything that ivas copy or description, and allowed the Elementary and Sponta-
neous to react in full freedom. Since the disposition of planes, and the proportions and colors
of these pla?ies seemed to depend purely on chance, I declared that these works, like nature, were
ordered "according to the law of chance," chance being for me merely a limited part of an un-
fathomable raison d'etre, of an order inaccessible in its totality.^

Not only is Arp's work associated with nature through eternal laws contributing to its creation,
but also through his particular type of abstraction, whose organic configurations recall and suggest
foliage or animal life. Pre-dating Surrealist automatic writing, Arp's spontaneous approach re-

3. Umberto Boccioni, "Technical Manifesto of Futurist Sculpture," reprinted in Modern Artists on Art,
ed. Robert L. Herbert, Prentice-Hall, New Jersey, 1964, p. 51
4. See Sidney Geist, Brancusi: A Study of The Sculpture, Grossman, New York, 1968, pp. 149-150
5. Jean Arp, On My Way: Poetry and Essays, 1912-1947, Wittenborn, New York, 1948, p. 40
veals a profound grasp of his inner powers. His unique biomorphic shapes recur in both Miro and
Calder (cat. nos. 68, 34) who also create a world based on imagination unrelated to objectively

perceived reality. Because of Arp's emphasis on fantasy and the spontaneous workings of the mind,
his art functions on multiple levels of association; certain shapes quite literally metamorphose
into others, simultaneously altering and expanding their original connotations. These image trans-

formations parallel the states and processes of the mind which preoccupied Arp. He found a subtle

and abstract style to express these ideas — ideas which had been more explicitly handled by Russolo
in Perfume, c. 1909 (cat. no. 93).

By 19 19, Arp was working closely with Ernst in Cologne where they established an alternative
to the far more political Dada contingent based in Berlin. Ernst, too, was concerned with the meta-

morphosis or multiple identity of images. But he, for the most part, uses absolutely realistic objects

arranged in specific, and often ironic, relation to one another. The collage Sitting Buddha (cat. no.

38) is a humorous vision of the subject put together from biological drawings and reveals Ernst's
peculiar sense of juxtaposition which later had great impact on Surrealism. Although their work
assumed very different forms, Arp and Ernst's sensibilities were remarkably alike. Ernst endeavored
to explore his mind's apparatus as freely as possible by means of "frottage." Frottage is a process,

named in 19Z5 by Ernst, based on the traditional technique of rubbing. Ernst was no doubt encour-
aged in his quest for such a method by Breton's 1924 Surrealist Manifesto. Ernst has described the
events which led to his discovery of this revelatory procedure.

Beginning with a memory of childhood . . . in the course of ivhich a panel of false mahogany, sit-

uated in front of my bed, had played the role of optical provocateur of a vision of half-sleep, and
finding myself one rainy evening in a seaside inn, I was struck by the obsession that showed to my
excited gaze the floor-boards upon which a thousand scrubbings had deepened the grooves. I

decided then to investigate the symbolism of this obsession and, in order to aid my meditative
attd hallucinatory faculties, 1 made from the boards a series of drawings by placing on them, at
random, sheets of paper ivhich I undertook to rub with black lead. In gazing attentively at the

drawings thus obtained . . . 1 was surprised by the sudden intensification of my visionary capac-
ities and by the hallucinatory succession of contradictory images superimposed, one upon the
other, with the persistence and rapidity characteristic of amorous memories.''

Both Come Into the Continents and the oil Composition (cat. nos. 40, 39) were made in this manner,
demonstrating his unique insight into a fantasy world quite unlike Arp's. Appropriately, Arp wrote
the introduction to Ernst's 1926 Natural History, a portfolio of his frottage drawings (an edition

of which is in the collection). Come Into the Continents is related to two of this portfolio's plates.

In his introduction, Arp incorporated the actual titles from the drawings — "enter the continents
without knocking but with a muzzle of filligree."'

Both artists foreshadowed the Surrealist movement in which they were active participants by
1924. The Surrealist insistence on "pure psychic automatism" and "the omnipotence of the dream"
obviated, to a certain extent, that quality of spontaneity which characterizes the early Arp and Ernst.
This lack of spontaneity on the part of the Surrealist painters largely resulted from the influence of
Breton, who extolled conscious control of the unconscious. Moreover, Breton's literary background
undoubtedly set the stage for a movement less oriented toward the visual. Nevertheless, Miro's
paintings of the 20's, like Personage (cat. no. 68), and Tanguy's work in his best known man-

6. Max Ernst, Beyond Painting, Wittenborn, New York, 1948, p. 7

7. Arp, op. cit., p. 38
ner, like Shadow Country (cat. no. io8), represent two of the more visual aspects of the movement.
Miro's abstract, biomorphic forms floating in an infinite azure space constitute an image which con-

trasts dramatically with Tanguy's precisely rendered dream-like and abstracted shapes grounded in
a landscape setting. While Miro and Tanguy developed respectively the poetic/magical and the sub-
conscious/dream-like tendencies of Surrealism, Masson (cat. no. 65), abandoned himself to the

powers of automatism which enabled him to utilize to the fullest extent his intuitive sense of line

and tension. The elements of chance, of accident, of randomness and coincidence have, of course,
always played a certain part in the creative process. The Dadaists, however, impelled by the Futur-
ists, made these elements more integral to their work to create a more dynamic art.
Another artist who, like the Futurists, strove vigorously to break down the barriers between dis-
crete states of mind and precise points of termination was Kurt Schwitters (cat. nos. 94-98).

Working out of a Cubist-Futurist impetus, he exemplifies the artist who totally and absolutely inte-

grates object with background, life with art. Schwitters, who developed his own exuberant form
of Dada in Hanover called "Merz" (from Kommerzbank), was a poet, as was Arp. Perhaps their

propensity toward other art forms enabled them to be more open and expansive in the plastic arts

and less concerned with the purely formal. The Futurists had been greatly involved with concrete
poetry and carried over the use of words, sounds and letters into their art. These concerns are also
very much a part of Schwitters' work. Although Schwitters' delicate collages and frequently less

gentle constructions are based on well-composed Cubist structural formats, his unorthodox use
of materials — personal possessions, discarded scraps and refuse culled from the streets — expanded
Boccioni's concept of new materials creating a new reality:

Transparent planes, glass, sheets of metal, wires, externa! or internal electric lights can indicate
the planes, inclinations, tones and halftones of a new reality . .
.'

Why, then, should sculpture remain shackled by laws which have no justifications'^ Let us break
them courageously and proclaim the complete abolition of the finished line and the closed
statue. Let us open up the figure like a window and enclose within it the environment in which
it lives. Let us proclaim that the environment must form part of the plastic block as a special
ii'orld regulated by its own lawsf
Although Boccioni had advanced such theories, he still clung, in practice, to the figure as subject.
Schwitters furthered the Futurist proclivity toward the fusion of sculptural object and environment
through the destruction of traditional definitions of line, mass and space. Starting in the 1920's,

Schwitters fabricated the Merzbau, which was built into his house in Hanover. It was an accretion
of objects which proliferated and changed daily, growing over the years into a huge all-encompass-
ing sculptural structure, hi the course of his career, he built three of these; he worked on the sec-
ond between 1937 and 1940 in Norway, while the third was begun in 1941 in England. These
constructions, now destroyed, were the fulfillment of his ideal of total inclusiveness. Schwitters'
accumulated environment represented something very different from the Futurist concept of fast-

moving modern Europe. The age of technology had not left a positive impression on him; its waste
products rather than its achievements consumed his interest.

Certain Dadaists did not ignore the fact that the machine age had spawned them. The Dada
obsession with thought processes and states of mind was translated through the exploration of
chance and accident into a kind of psychic mechanism. Picabia's Alarm Clock 1 (cat. no. 79) is a

8. Quoted in Martin, op. cit., p. 117

9. Reprinted in Herbert, op. cit., p. 54
superb synthesis of Dada methods of chance and a machine esthetic. Arp witnessed the making of
this piece in Zurich where he met Picabia for the first time in 1919. Dismanthng the clock in his

hotel room, with the impetuosity for which he was famous, Picabia dipped its parts in ink, placed

the inked elements on paper to leave an image, and then added a few lines to hold the composi-

tion together. The rashness of the esthetic decision combined with the reassembled, now useless

clock expresses the artist's irreverent attitude toward technology and, even more, his ability to

transform and break down a mechanical object so that its inner workings are fully revealed.

Duchamp and Picabia well understood that the machine which makes "things" work could be an
apt metaphor for the workings (or non-workings) of all "things," even humans. The fact that Picabia

depicted Marie Laurencin and the dancer Napierkowska (cat. nos. 78, 77) as non-functional
mechanical beings confirms a sense of extreme ambiguity and irony. Both these female apparatuses
could perform effectively if they were "turned on," but neither one would perform a concrete,

logical function. Both works imply self-contained revolving movement, rather than directional
thrust. Moreover, Napierkowska slightly resembles a spinning top, which is what she must have
looked like to her audiences. These portraits have ceased to represent an external reality, rather
they exist as specific, self-referential fantasy-realities.

The Dada sense of the mechanical age is far removed from the Constructivist sense; yet, both

movements were passionately concerned with revealing the laws which govern universal processes.

Dada machines are odd, magical, often anthropomorphic and sometimes sinister. The Construc-
tivists never depicted actual machines, but rather attempted to utilize and incorporate real tech-

nology to create an art in keeping with the times, times in which they had ultimate faith. Their
efforts to surpass external reality in order to arrive at the universal were imbued with a great
sense of optimism and enthusiasm, resulting from both the innumerable esthetic possibilities
which flowed from the new technology and from the volatile political atmosphere in Russia im-
mediately following the 1917 revolution. Gabo and Pevsner, two Constructivists who figure prom-
inently in the Winston/Malbin collection, both actively absorbed and expanded the basic tenets of
Futurist theory in a way quite unlike the Dadaists. Their Realist Manifesto, written in 1920 at the
height of cooperation between all branches of art and technology in Russia, defines their position

vis-a-vis Futurism:

1. To communicate the reality of life, art should be based on the two fundamental elements:
space and time.
2. Volume is riot the only spatial concept.

3. Kinetic and dynamic elements must be used to express the real nature of time; static rhythms
are not sufficient.

4. Art should stop being imitative and try instead to discover new forms."
The use of the word "realist" has Platonic implications. Gabo and Pevsner propose that their art
is founded on the same fundamental and invisible laws of energy and tension as those of the universe
itself. Their sculpture constitutes its own world, never imitating or referring to an external reality.

The concept of harmony is central and is predicated on an ever-changing and actively regenerative
reality.

Boccioni's remarks furnish insight into Gabo and Pevsner's emphasis on space and time in
sculpture:

In sculpture as well as in painting, one can renew art only by seeking the style of move-
ment, that is, by forming systematically and definitely into a synthesis that which Impression-

10. Quoted in Gabo-Pevsner, The Museum of Modern Art, New York, 1948, p. 10

13
 ism offered in a fragmentary, accidental, and consequently analytical way. The systematization
of the vibration of light and of the interpenetrations of planes tvill produce Futurist sculpture: it

will be architectonic in character, not only from the point of view of the construction of the
masses, but also because the sculptural block will contain the architectonic elements of the sculp-
tural milieu in which the subject lives.""

The Russian Constructivists created an art based on the renunciation of mass and the subsequent

opening up of space; hne was articulated as direction of force and energy, rather than as descrip-

tion. Time was introduced by means of actual and implied movement, capable of defining the space
within which the motion occurred. The Dadaists embodied time in their work in a more cerebral

and gestural fashion since a certain duration of time often determined the precise form a work of
art assumed. Constructions like Tallin's complex revolving Monument to the Third International
of 1910, (never executed in final form) incorporated time as movement in both symbolic and actual
forms. The Futurists had articulated the need for a "style of movement," but they integrated it into

their paintings and sculpture primarily on a narrative level.

Gabo and Pevsners' investigations of motion, though based on an extension of Futurist inspira-

tion, nevertheless stood for a radical departure. Gabo has described the inherent distinctions:

Ask any Futurist hoiv he imagines speed, and on the scene ii'ill appear a whole arsenal of raging
automobiles, ridmbling stations, tangled wire, the clang, bang, noise and ring of the whirling
streets .... This is not at all required for speed and its rhythms .... Look at a ray of sun— the
quietest of the silent strengths— it runs three thousand kilometers in a secotid. Our starry sky
— does anyone hear it?''
Pevsner expressed equally vehement feelings about the Futurist actualization of theories on move-
ment:

In the field of painting the task of Futurism went no further than revised attempts to affix on can-
vas the optical reflex. . . . It is clear to anyotte that we cannot re-create motion through a single
graphic record of a series of snapshots of arrested movement."

The Constructivists did not seek to transform the human figure into a mechanized robot; instead,
in their hands, the figure becomes a form of interacting geometric solids and voids, as in Pevsner's

Cubist-derived copper Figure of 1915 (cat. no. 74). The far-reaching effects of Cubism are apparent
in both Futurism and Constructivism, but the latter movement more accurately represents a syn-
thesis of the other two. Dependence on Cubist formal innovations, such as constructed objects and
the incorporation of unorthodox materials," combined with the realization of Futurist concepts in

relation to energy, motion and the breakdown of mass contributed to the uniqueness of the Con-
structivist style.

Figure, like Gabo's earlier works of a similar style, has been split open to reveal its invisible

workings — not in a biological, individual sense, hut in a cosmological, ideal one. In spirit, their

abstract constructions correspond to works by the mature Mondrian (cat. no. 69) who also was
not concerned with representing externals, but with the creation of a self-contained reality encom-
passing the delicate balances and contradictions of a total cosmology. By 1921, Gabo, Pevsner,

11. Reprinted in Herbert, op. cit., p. 53

12. Quoted in Gabo-Fevsner, op. cit., pp. 18-19
13. Ibid., p. 54
14. Picasso's sheet metal and wire construction Guitar of 1912 (The Museum of Modern Art, New York)
is prime example of a Cubist realization of a work which is neither painting nor three-dimensional
a
sculpture. This construction suggested countless possibilities to other artists.

14
 and Kandinsky had left Russia because they believed in art for its own sake and not in the serv-

ice of any other cause, such as the state. Tatlin, Rodchenko and Lissitzky continued their careers

as artist-engineers with greater stress on the latter; they devoted themselves to the government in an
effort to combine their artistic pursuits with the needs and demands of the state, an effort that
proved futile in a system which was hostile to non-representational art.

Technology did not catch up with the ideas of Gabo and Pevsner until the late 30's and early
40's. Plastic, which allowed for greater delicacy and transparency, became available, and works
like Linear Construction in Space No. i, 1950," resulted. In this piece and others like it, the im-

portance of light has been increased to enhance the artist's manipulation of positive and negative

Naum Gabo
Linear Construction in Space No. i, 1950

15. This piece is not included in the exhibition because it is too fragile to travel.

15
space. From the 30's on, Pevsner concentrated on exploring the inherent spatial contrasts of dif-

ferent metals. The Constructivists' handling and use of materials invariably differed from the Da-
daists': the latter frequently relied on a juxtaposition of various materials or objects, often of a

found or used nature which would result in an ironic statement. On the other hand, man-made or
fabricated materials presented the greatest esthetic possibilities to the Constructivists who were
encouraged to fully exploit the newest technological discoveries. As with Gabo, stretched lines and
rods predominate in Pevsner's works whose organic and natural appearance belies their mathe-
matical basis. In Fresco, Fauna of the Ocean (cat. no. 75) of 1944, the straight rods of copper and

tin have been fused on the surface to create solid planes which turn and develop within a circular
pattern. As a result, the surface appears to vibrate and dematerialize. Furthermore, the appear-
ance of the material slowly changes because oxidation alters the original metal colors to create a
luminous turquoise and gold hue. The strong rhythmic energy reiterates the actual motion of the
universe, vividly recalling the Futurist "lines of force." Balla's Fist of Boccioni; Lines of Force (cat.

no. 19) in form and title suggests most accurately a source of many Constructivist works; Balla's

sculpture exemplifies a theoretical fusion of physical (the fist) and cosmological (lines of force)
energy and tension.
Consistent with their advanced notions, Gabo and Pevsner stressed the importance of "a synthesis
of the plastic arts: painting, sculpture and architecture. . .
."" — again, a type of structural fusion.

Lissitzky (cat. no. 61), however, envisioned his art as an even more total statement which integrated
all the applied arts, especially typography and photography. He had been a pupil-disciple of Male-
vich, but was equally enthusiastic about Tallin and Rodchenko's concern with the unity of art and
the state. Like van Doesburg, his personality enabled him to bridge the gap between the two fun-
damentally opposite approaches. Van Doesburg (cat. no. 37) originally championed the pure and
ideal esthetics of the De Stijl movement, and later embraced the theories and theatrics of Dada as

well. With his wife, Nelly, and Schwitters, van Doesburg traveled throughout Holland presenting
Dada lectures and performances. He wrote Dada poetry under the pseudonym of I.K. Bonset, only
to be warned by his former De Stijl colleague Mondrian about an unknown writer whose ideas
seemed extremely dangerous and anarchistic. Of course, this writer was van Doesburg himself,

in his Dada guise! This assimilation of contrasting viewpoints does not point to a schizophrenic
tendency in van Doesburg; on the contrary, it reveals his personal sense of the inherent similarities
of both movements and the equal need of each to construct new realities.

All the artists discussed here were intent upon creating a total world view. Whether it is a Schwit-

ters collage or an Arp sculpture, a Lissitzky Proun painting or a Pevsner construction — the inten-
tion of the artist was based on the profound need to construct a new vision in relation to the
contemporary world. Without doubt, the Futurists were instrumental in furthering and expanding
the highly influential Cubist breakthrough. Widening the scope of their art by introducing social
and political elements and including allied media like photography, they affected the artists associ-

ated with Dada and the fantastic on the one hand and Constructivism and geometric abstraction
on the other. The esthetic reverberations of Futurism are still felt today in such areas as kinetic and
environmental art, as well as performances.
A particular emphasis on the collection has been the basis for this discussion. Alternate possi-
bilities exist; different connections and conclusions may be drawn. The Winston/Malbin Collection
offers the viewer, no matter what path is followed, a rewarding insight into twentieth-century art.

LINDA SHEARER

16. Quoted in Gabo-Vevsner, op. cit., p. 57

16
Malbin living room 1969
,
Umberto Boccioni in studio, c. 1913, with plaster of Synthesis of Human Dynamism, 1912 (destroyed)
Futurism Now

"Bisogna perdonare qualche sbaglio . . . all'uomo che tenia di volare"

"You must pardon the man who seeks to fly ... if he makes some errors"

Boccioni to Barbantini

Boccioni's impassioned plea, made in 1911, is one of the many moving testimonies to the great
struggle which he imposed upon himself in his brief and intense career. In retrospect Boccioni's out-

cry may also be viewed as a metaphorical appeal for a sympathetic and, more importantly, a

balanced assessment of the Futurists' endeavors. For it seems that no twentieth-century creative
effort has been subjected to such continuing, highly colored, hence misleading and often incorrect
interpretation as Futurism. Such distortions were partly brought on by the Futurists themselves:
their overambitiousness, swagger and exaggeration were intended to arouse, astound and offend,
and could not but result in a vehement, partisan response. In addition, the movement's equivocal
and complex connections with the rise and later triumph of Fascism have further clouded the
evaluation of Futurism. And lastly, the very shape of the movement, its efforts to encompass all

the arts and even establish a mode of life, has tended to confuse and discourage all but the most
persistent of its students. However, the perspective imposed by time has also revealed some of the

deeper reasons for the difficulties in comprehending and assessing this Italian contribution to mod-
ern art. Factors such as those mentioned above are relatively superficial. It is becoming increasingly
apparent that Futurism was not only contradictory, but was more prophetic and daring than had
been suspected. And, generally, the Italian movement, in all of its manifestations, emerges as one
of the earliest and, above all, most inclusive and vocal expressions of the great creative and mora!
concerns of our century. These ingredients doubtless have given the Futurist message its continu-
ing appeal.

Turning to some of the better known external aspects of the Italian movement, one notes, for
example, that the Futurists' image of themselves as artists, their attitudes towards society and their
methods differed markedly from those who preceded them and from most of their contemporaries.
Rather than accepting and propagating the comfortable cliches about the artist as a disheveled but
proud escapist loner, they were fashionably dressed and appeared easy-going; their projected image
was that of energetic and powerful world leaders or industrialists. Quite resolutely they discarded
for themselves and the public the nostalgic idea of the artist as a romantic anachronism, like the

imaginary artisan of the past. Baldly, if somewhat suicidally, the Futurists faced the fact that in

order to put their creative views across they had to employ the methods (and some of the attitudes)
of the controlling sectors of society. Their brilliantly planned international and national exhibition,
lecture and performance campaigns resemble Henry Ford shaping his empire. For it was with
enterprises such as these that the Futurists had to compete for attention from a commodity and
consumption-oriented public. Their aggressive and often trying methods were relieved and human-
ized by the group's youthful high-spirits, which turned all of their activities into hilarious, if irrev-

erent, events. Beneath the din and dust of their uproar there appeared a firm optimism and courage.
Italians called them gli allegri futuristi (the happy Futurists), for the mood of excitement and ex-
pectancy which they created was a welcome change from the pessimism and sensuous self- abandon

of some of their elders.

19
Umberto Boccioni in studio, 1913.
Boccioni standing to right behind his Spiral Expansion of Muscles in
is Movement (destroyed).
Seated are Giacomo Balla and Boccioni's mother.

Three of the Futurists during World War I, 1915

 Futurism was given its public life and form in 1909 by the poet F. T. Marinetti (1876-1944), who
was its leader and catalytic spirit. Quite possibly, Marinetti's most noteworthy contribution to cul-

ture, like that of his Russian contemporary Diaghilev, was the successful creation of a unified artistic

ensemble, made up of disparate yet temporarily cooperating individuals. To extend the analogy
further, it may be said that like Diaghilev's principal dancers, each of the Futurists placed his per-
sonal endeavors in the service of an all-encompassing vision and dedicated himelf totally to its

fulfillment. Yet Marinetti received as much as he gave. An extremely alert and perceptive impre-
sario, he welcomed and thrived, as did the movement, on the lively exchange and collision of ideas
within it. However, these differences which ultimately became irreconcilable, led in part to

the collapse of the first phase of the movement around 1915.

Futurism achieved an esprit de corps that was both more intense and vocal than, for example,
that of the French Impressionists or Die Briicke group of Dresden. These other artists had banded
together for united strength in order to better pursue creative goals that ran counter to the dom-
inant conventions. But the Italians, from the beginning, demanded a much greater discipline and

militancy from themselves and from those they sought to reach. This was expressed in fierce

exhortations such as Marinetti's proclamation in his celebrated Futurist Foundation Manifesto of

1909: "We shall sing the love of danger, the habit of energy and fearlessness." Such a mode of

life, creative and otherwise, represented, above all, the Futurists' determination to combat the
mental, moral and physical lethargy that seemed to have overcome mankind, partly as a result of
the greater wealth and ease which the industrial age had brought about. The external complacency
and comfort of human existence had reduced the arts to an agreeable, relaxing pastime for "rich
and mature men with scornful minds and very bad digestion, which makes all mental effort impos-
sible," in Marinetti's words.' The Futurists clearly recognized that the scope of art, as well as the

conditions for its creation, had so narrowed as to threaten it with meaninglessness or annihi-
lation. They were by no means the first to note this cultural crisis, in the making for over a cen-

tury. But with the help of Schopenhauer, Nietzsche, Sorel, Whitman, Jarry and many others, they
took the lead in many respects in diagnosing it afresh and in seeking a remedy. And in their fun-
damental efforts and their willingness to risk all for art, they provided fuel and guidelines for
contemporary and subsequent quests for regeneration and liberation of the human spirit.

Today it seems obvious to assert that creation for the Futurists involved an intensely intimate
awareness of and identification with the dynamic spirit and forces that the modern scientific and
technological era had revealed. Yet what this implied in practice has still not been spelled out fully.

What is clear, and cannot be stressed enough, is that it meant much more than "automobilism,"
as Wyndham Lewis bitingly characterized the Futurist doctrine in 1914. The realization that
the mode of perception of modern life had been as drastically altered as life itself was a significant
aspect of the Futurist esthetic; yet it implied more than this. Basically, Futurism stood for an exten-
sive and unsparing questioning of the nature and place of art in the twentieth century, necessary if

art were to survive and evolve as a profound human manifestation. The questioning begun by
the Futurists aimed beyond the soul-searching of previous generations, which in their estimation
had been far too limited. Marinetti's over-quoted slogan from the Foundation Manifesto that "a
racing car . . . is more beautiful than the Victory of Samothrace" brutally points to the crux of the
matter as he saw it: that the tension between the past and present, between dream and reality, or
human will and failure, could in the twentieth century no longer be accommodated by the kinds of
compromise that all speculative spirits effect in order to create.
It is significant that the tnise au point of the modern artistic dilemma was posed not by a French-
man but by an Italian (although a Francophile), and rapidly acted upon by a number of the most
gifted and adventurous of his countrymen. Could it have been that such a bare revelation was more
I. Manifesto dei drammaturghi, broadsheet dated October 11, 1910, Poesia, Milan
Boccioni in studio, c. 1914, against Materia, 1912.
readily achieved in Italy? For in the clear, unsparing light of this peninsula all human achievements,
artistic, moral and other, dwindle in stature before the ubiquity of its bygone giants. The directness

of the Futurists' protest, the extremes to which they went in communicating and fighting this ma-
laise, can perhaps only be grasped fully within this local context. The fact that Italy then believed

itself to be behind in cultural and socio-economic matters, and the widespread disillusionment in

the aftermath of the Risorgimento may further have sharpened the Futurists' insight into the

broader predicament of western civilization.

From the beginning. Futurism thus burdened itself with a moral charge similar in weight and
urgency to that which fired the medieval artist of the eleventh and twelfth centuries. With analo-
gous, near barbaric force the modern Italians attempted to expurgate the ready-made, meretricious
and soothing alibis which filled men's minds and deflected them from the essential issues. And like

their predecessors they emphasized that spiritual, hence creative survival could only be assured
through war-like vigilance and combat, which Marinetti believed to be the heart of human exist-

ence. His exclamation of 1909 that "war is the world's only hygiene," therefore stands for more
than a simple-minded, chauvinistic celebration of the actual thrills of battle. However, in his more
adolescent, unreflective moments Marinetti was not unreceptive to these superficial sensations.

The widespread and seemingly distorted view that Futurist words preceded deeds should be dis-

cussed. This over-simplification has permitted an all too easy dismissal of Futurism as primarily
a verbal program rather than an actual, self-contained and meaningful artistic phenomenon. And
not surprisingly, such a view has supported the notion of an easy and direct transition from
Futurism to Fascism, in which words were indeed one of the most profuse products. Futurism did,

of course, burst forth with a seemingly endless number of manifestos, but its basic creative views
were the result of prolonged gestation in the work of its guiding figures. But the Futurists' expos-
itory statements do raise the difficult and well-worn problem of the relationship of actual creation
to its verbal justification. As the century passes and commentaries by artists multiply, providing a
seeming permission, even invitation, to transpose one for the other, this problem becomes even
more acute. Such curious and deliberate over-intellectualizations, an acerb comment on the crea-
tive anxiety of the present, are ultimately traceable to Futurism. This should not blind us to the fact
that the Italians initially composed their verbal statements quite simply for purposes of publicit)',

public illumination, as well as personal clarification. The need to do this, as suggested earlier, was
implied in their efforts to give the arts a central and dramatic place in human existence.
Futurism originated in a literary milieu with a principally literary point of view. Yet it may not be
unjust to suggest that its most distinguished and, in a sense, most fulfilled early contributions were
made in the visual arts. However, the Futurists' intrepid efforts to break down the borders between
the different disciplines resulted in hybrids such as "free-word poetry," "free-word painting," "art

of noises," kinetic, multi-material, colored, noise-making "plastic complexes," which, in their day,

were radically novel. Hence in any evaluation one must make allowances for the cross-fertilization
that, whether obvious or subtle, underlies most Futurist contributions.
What was most important in primarily determining the artistic direction of this closely knit
group? Although not acknowledged at first, one of the most fundamental points of agreement
among the painters and writers was their awareness of the double-edged thrust of photography
and the moving picture as a powerful means of visual communication. The Futurists accepted
these new media as direct artistic challenge and inspiration, although, at first, they denied such
dependence. Their early detractors, however, had been quick to point out this influence. The Ital-

ians understood from the beginning that the survival of their own media was sharply threatened.
The dual consequences — the threat and the inspiration — of photography had been recognized and
responded to by artists ever since its invention in the second quarter of the nineteenth century. But

2-3
the advent of the enormously appealing and popular moving picture seems to have heightened
the competitive challenge of the mechanical eye. And Futurism, with its anti-traditional and
dynamic esthetic was undoubtedly the first large-scale and consistently worked-out attempt to
provide "artistic" counterparts to the mechanically achieved illusion of movement that the photo-

graphic lens had revealed. Almost predictably, in 191 6 the first phase of Futurism, after con-
siderable internal change, culminated in an effort to transform the "traditionless," esthetically in-

nocent film into an all-embracing, multi-media form of expression. The film Vita fiiturista and
the accompanying manifesto of Futurist Cinematography testify to the open acceptance of the
camera by the movement.
Specific debts to the camera and its related discoveries are clearly discernible in early Futurist

works and theory. It must be added that ideas pertaining to optical, psycho-physiological or philo-

sophical aspects of perception almost simultaneously helped to stimulate, rationalize and dignify
the Futurists' recourse to the camera. For example, the scientific principles underlying Neo-Im-
pressionism — one of their chief technical points of departure — came to the Futurists' attention
through some of its French exponents and apologists and through their Italian counterparts, the
Divisionists. Or theories of empathy reached them in such diverse forms as those of Lipps, Beren-
son, Bergson, and through their socio-artistic elaboration in Romains' Unanimisme. Unquestion-
ably, Bergson is an extremely important Futurist source, especially with regard to verbal justifica-

tions of their endeavors. For the French philosopher, probably more than any other thinker of the
period, was able to translate contemporary spiritual yearnings into evocative metaphors. These
provided attractive rubrics for many of the expressed or non-verbalized and often contradictory
ideals of the time.

The Futurists' rejection of the conventions of time and space, the experimentation with both
analytic and synthetic renditions of motion, and lastly, their quest for a powerful artistic analogue
for the universal flux — Bergson's "duration" and Boccioni's "painting of states of mind" — can all,

at least in part, be explained as outgrowths of the photographic/cinematic experience. Names

famous in the history of photography, especially Marey and his chronophotography, are usually
connected with the Futurists' more or less systematic studies of sequential motion, as found, for
example, in Severini's Study for "Portrait of Mme. M.S." (cat. no. 99). In addition, the even more
astounding early trick films with their flashbacks, montages and close-ups, or the X-ray photo-
graph, are very close to the artists" search for an ultimately non-representational symbolic idiom.
All of these catalytic elements led to an early discovery by the Futurists that the static, confined
art-object was insufficient for their purposes. From mid-1910, one finds pictorial allusions to and
discussions, first, of an art of colored gases and, later, of colored lights which literally envelop the
spectator. Talk of such liberated, abstract possibilities was in the air, as witnessed by such famous,
roughly contemporary, theatrical projects as Kandinsky's Der Gelhe Klatig (The Yellow Sound), or
Gordon Craig's vision of an actorless stage with dramatically lit and moving props. Very likely, the

most complete and prophetic early realization of these ideas was accomplished by Balla in his decor
of 1917 for Stravinsky's Feu d'artifice. This "dancerless ballet," commissioned by Diaghilev, demon-
strated theatrically the Futurist desideratum of placing the spectator in the center of the work of
art. By means of a time-controlled spatial interaction of sound, moving three-dimensional abstract
colored forms and colored lights, which played on and off stage, Balla transformed the entire audi-
torium into a synesthetic ambience. Balla was the only one among the original Futurist artists able
to carry on with the aims of the movement
after the group had broken apart. By late 19 16 its most
forcefulmember, Boccioni, was dead, and Carra and Severini had turned away from Futurism.
The Winston/Malbin collection, so sensitively and intelligendy assembled, conveys a fine sense of
the general course of Futurism and its aftermath. In so doing, it also reveals some of the difficulties

14
that confront the modern artist, which, not unexpectedly, came newly into focus during the prime
years of Futurism. These seem to point to an often unspoken awareness that the discovery and
development of alternatives for the western tradition, outworn in their view, pose greater obstacles

than anticipated. The technical and mechanical problems arising from the Futurists' wish to super-
sede the conventional, arrested representational likeness, as well as the isolated static art object
were enormous, but not insurmountable. Early in the century, Balla's abstract decor, the work of

the Constructivists and the De Stijl group variously fulfilled some of these requirements with great

conviction and ingenuity. On the other hand, the force of past artistic civilization has proved to be

a more stubborn problem, perhaps beyond resolution. The conscious or unconscious dialogue with
this seemingly indestructible heritage, which had given human meaning and resonance to earlier

creative efforts, has persisted to the present.

It is evident that the critical tension which characterizes the mature Futurism of Boccioni and of
most of the other participants was brought to the surface by their contact with Cubism, which be-
gan in mid-1911. To Futurist eyes. Cubism as an artistic idiom and social phenomenon represented
the kind of creative compromise which they had fiercely rejected as anachronistic; yet, as individ-

uals and on purely artistic grounds, they desired and even envied it. For Cubism, unlike Futurism,
was bred and sheltered in a nation with a prized modern tradition and supported by a few informed
and wealthy apologists of the "new." Hence its purest masters, Picasso, Braque and Gris, were able
to work within an austerely circumscribed artistic realm and to update radically some aspects of

the classical heritage. Cubism thus remained proudly traditional and hermetic, deliberately side-

stepping some of the artistic issues which the optimistic Italians faced.

The Futurists wished, above all, to communicate and to communicate with power. And Boccioni,
whose work is as ingenuous as it is ardent, lays bare in his three sculptural masterworks, Anti-

Graceful, Dei'elopt}ient of a Bottle in Space, Unique Forms of Continuity in Space (cat. nos. 18, 29,
30) some of the high ambitions and conflicts of Futurism. This extraordinarily gifted artist identi-

fied by natural inclination more closely with the ethos of Futurism than most of the other partici-

pants in the movement. Thus, quickly and dramatically, he gave substance to Marinetti's initial

precepts, allowing the movement to expand and grow and survive artistically after his death.

On the most immediate level, Boccioni's three sculptures represent spirited attacks on the palat-
able academic standbys — the portrait, the still life and the monumental figure — with their usually

banal conceits alluding to eternal attributes. On a more constructive plane, the sculptures, executed
successively in 1911-13, are increasingly searching tests in three dimensions of the persistent inter-

action of objects with their environment and the mutual transformations that result. In this, they

provide a brilliant adaptation and development of some of the analytic and synthetic procedures of
Cubism. At the same time, they are also a partial answer to the problem posed by the Futurist belief

that the flat surface of a painting had become insufficient for a forceful symbolic expression of the
vital continuum. Yet Boccioni's use of a single material, rather than proceeding with his earlier

multi-material assemblages, reflects his often-noted realization that he was seeking solutions for
too many problems at once. He thus left it for Balla, his Russian contemporaries and their joint
heirs to carry on along those lines.

One does not know if and how Boccioni would have wished to have his pieces cast. But the
bronze versions by which they are now mostly known, give them a stardingly appropriate old-
master look, while, at the same time, underlining their revolutionary quality. This dramatizes the
struggle that seems to have been waged in the artist's mind in the course of creating them and which
is symbolically communicated. The sculptures express Boccioni's — and by extension, man's — con-
suming desire to assert his momentary presence in the engulfing stream of change, seeking to shape
it and himself to a harmonious concordance.The violent spiritual and material vicissitudes to which

2-5
Dr. and Mrs. Barnett Malbin in living room of the Malbin home
the subject, his mother, and sculptural form are subjected in this encounter, shown in Anti-Graceful,

give way to the highly controlled and calculated, but still undecided contest of the Bottle. And fi-

nally, a triumphant breakthrough is achieved and proudly proclaimed in the weightless, soaring fig-

ure of Unique Forms. This metamorphosed multi-image, now motorcyclist-flyer, now flame and

wave, possesses the complete formal ease appropriate to its statement. Boccioni has succeeded, as

Apollinaire hoped the Cubists would, in "elevat[ing] the melody to a symphony."^ Ironically, this
breakthrough was accomplished with perhaps some unconscious and certainly grudging conces-
sions to that derided paradigm of past beauty and dynamic action, the Victory of Samothrace, as

has often been pointed out.' With it goes the tacit but increasingly pervasive admission, in Bocci-
oni's work after late 1913, that art must draw on art. References to the uncircumventible presence
of the classical past, filtered through Cezanne, appear with increasing frequency in his late paint-

ings. Boccioni's acceptance of the seemingly unbreakable chain of tradition becomes tantamount
to his recognition, verbalized only shortly before his death, that the wish to achieve an artistic re-

generation was great enough a burden for one life.

Marinetti, more resilient and more thoroughly iconoclastic than Boccioni, never went so far as to

admit these insights openly. But a similar awareness is implicit in his directives issued to the remain-

ing Futurists during the War. He recommends that they simplify their work to make it compre-
hensible and fulfill propagandistic purposes. Similarly, Marinetti's growing involvement in the
theatrical and cinematic activities of the movement bespeak, in part, his concession that the public
and art cannot be served to the same extent at the same time. Yet the discoveries made in these

areas, even if rudimentary, attest to the unflagging vitality of the Futurist impulse.
Whereas Cubism, with its narrow but deep commitments, had precipitated the artistic crisis of

Futurism, the War pointed up the social one. Futurism, in keeping with its reforming aims, had
from the beginning, pretended to a political role, and the actual and increasingly dominant polit-

icizing of the movement that started in 1915, brought its fundamental dilemma to a head. Other
idealistic European artistic endeavors experienced a similar trauma at the time. In desperation, some
of the German Expressionists and Russian Constructivists, like the Futurists, linked their hopes for
worldly fulfillment of their dreams to extremist revolutionary groups. In all instances these political
bodies first exploited these artists, but once in power, sooner or later rejected them. For the under-
lying message of spiritual freedom that such artists brought to real politics threatened the self-

propagation of those in power.

Marinetti's seemingly life-long friendship with Mussolini is as difficult to fathom as his accept-

ance in 1929 of membership in the Italian Academy. Did these acts mean, as is often said, that Mar-
inetti travestied all that Futurism had stood for, and, worse still, that Futurism was one of the many
roads to Fascism? In a sense the answer must, of course, be yes. But the condemnation of Futurism
as a misguided enterprise does not necessarily follow. Rather it tragically suggests that Marinetti,

the "St. John the Baptist of Futurism" in his blind and boundless zeal accepted the temporan,- death

of Futurism in Fascism "much as Christianity was quenched by the Spanish Inquisition or charity by
bishops."" This remark was made in 1938 by the English painter and ex-Futurist C.R.W. Nevinson.
Yet Futurism lives so long as men dream and "keep alive the primal wonder and curiosit>- concern-
ing the universe,"' as the keen American critic Christian Brinton had noted two decades earlier.

MARIANNE W. MARTIN
2. Guillaume Apollinaire, Chroniqiies d'Art (1901-191S), Gallimard, Paris, i960, p. 217
3. example, John Golding, Boccioni's Unique Forms of Continuity in Space, University of Newcastle-
See, for
upon-Tyne, 1972, p. 26
4. C.R.W. Nevinson, Paint and Prejudice, Harcourt Brace, New York, 1938, pp. 89-90
5. Christian Brinton, Impressions of the Art at the Panama-Pacific Exposition, John Lane, New York, 1916,
p. 26

2-7
Constantin Brancusi, Paris
Works in the Exhibition

PAINTINGS, SCULPTURE, WORKS ON PAPER

The listing is alphabetical by artist and chronological within
individual artists. References to literature and exhibitions
which are abbreviated are entered in full in the documenta-
on page 130. At the end of every entry,
tion section starting
the Winston/Malbin Collection number (W-oo or G-oo) is
noted. Height precedes width in all dimensions. The third
dimension listed in sculpture is depth.
Josef Albers b. 1888

Born in Bottrop, Westphalia, Germany. 1913-20 studied art

in Berlin, Essen, Munich; subsequently at Bauhaus, Weimar.
1913 became professor at Bauhaus; moved with the school to
Dessau and developed Vorkurs, an introduction to design
based on the study of color, texture, form and line. 1933
upon closing of Bauhaus, moved to United States; headed art

department at Black Mountain College, North Carolina to

1949. 1949 beginning of series Homage to the Square. To
art school, Yale University, 1949; Chairman of Department
of Design 1950-58. Author of many books and articles.

Now retired from teaching career, works in New Haven.

30
I. JOSEF ALBERS EXHIBITIONS:

Cranbrook, 1951, no. i

Study for "Mirage A." 1940
University of Michigan, 1955, no. i, p. 9
Oil on paper, iz x i^Vi" D.I. A., 1957-58, no. z, p. 33, ill. p. 34
Unsigned Indiana University, 1971, Reflection, no. 1, p. 31, ill. p. 31

D.I.A., 197Z-73

PROVENANCE:
REFERENCES:
The Pinacotheca Gallery, New York
Degand and Arp, Aujoiird'hui, 1957, ill. p. 31
Winston Collection, 1946
Read, Herbert, A Concise History of Modern Painting,
Praeger, New York, 1959, no. 113, p. 349, ill. p. 306 (here-
after cited as Read, Modern Painting, 1959)

G-IZ5

31
Karel Appel b. 1921

Born ill Amsterdam. 1940-1943 studied at Royal Acaderaie

of Fine Arts, Amsterdam. 1946 first one-man exhibition
Beerenhuis, Groningen, Holland. 1948 founded Dutch
experimental artists group Reflex, with Constant and
Corneille, which became known as Cobra in Paris. 1950
settled in Paris. r95i met critic Michel Tapie; began laying
colors on thickly. 1953-54 works included in important
international exhibitions; received UNESCO prize; first
United States one-man exhibit at Martha Jackson Gallery,
New York, i960 first prize, Guggenheim International
Exhibition. Exhibition of sculptures, wall reliefs, paintings
1968-69 Centre National d'Art Contemporain, Paris;
Stedelijk Museum, Amsterdam; Kunsthalle, Basel; Palais
des Beaux — Arts, Brussels. 1971 major retrospective
organized by Musee d'Art Contemporain, Paris, toured
Canada. Lives in Auxerre, France.

31
2. KAREL APPEL EXHIBITIONS:

The Museum of Modern Art, New York, May lo-August

Head and Fish. 1954
7, X955, The New Decade: 22 European Painters and
"
Oil on canvas, 34% x 45-% Sculptors. Travelled to The Minneapolis Institute of Arts,

l.r.
" '54/K. AppeP' September 21-October 30, 1955; Los Angeles County
Museum of Art, November 21, 1955-January 7, 1956; San
PROVENANCE: Francisco Museum of Art, February i-March 15, 1956
D.I.A., 1957-58, no. 3, p. 33, ill. p. 34
the artist
Winston Collection, 1955 (through The Museum of D.I. A., March The Dutch Contribution
8-April 7, 1963, to

Modern Art, New York) The International Development of Art Since 194J

REFERENCE:

The Detroit Free Press, March 3, 1963, ill.

W-142

33
 ALEXANDER ARCHIPENKO
Nude No. I. c. 1912-13

Crayon on paper, 14 x 10V2"

l.r. "Archipenko"

PROVENANCE:
Alexander Archipenko 1887-1964 Librairie Kundig, Geneva
Liebman Collection, New York
Born in Kiev, Ukraine, Russia. 1901-05 studied art in Kiev, Parke-Bernet Galleries, New York
1906-07 Moscow, 1908 Paris; considered himself self-taught. Winston Collection, 1955
1908 settled in Paris. 1911 executed first Sculpto-Peintures
EXHIBITIONS:
combining various materials and painted surfaces. Exhibited

frequently in Paris Salons. Moved to New York 1923. 1924-

D.I. A., 1957-58, no. 4-a, p. 33. Did not travel
Indiana University, 1971, Reflection, no. 11, p. 33, ill. p. 36
Z7 invented Archipentiira, kinetic paintings. In late 40's and
50's made electrically-lit plastic sculptures.
REFERENCE:

Parke-Bernet Galleries, New York, 1955, The Liebman

Collection of Valuable Modern Paintings, Drawings, and
Sculpture, no. 25, p. 8.

4. ALEXANDER ARCHIPENKO
Nude No. 2. c. 1912-13

Crayon on paper, 17V2 x 11"

l.r. "Archipenko"

PROVENANCE:
Librairie Kundig, Geneva
Liebman Collection, New York
Parke-Bernet Galleries, New York
Winston Collection, 1955

EXHIBITIONS:

D.I. A., 1957-58, no. 4-b, p. 33. Did not travel

Indiana University, 1971, Reflection, no. 10, p. 33

REFERENCE:

Parke-Bernet Galleries, New York, 1955, The Liebman

Collection of Valuable Modern Paititings, Drawings, and
Sculpture, no. 25, p. 8.

34
 5- JEAN ARP

Head (Portrait of Tristan Tzara). c. 1920.

Ink and pencil on paper, 23% x 17%"

1.1. "Arp"

PROVEN.'\NCE:

Jean Arp 1887-1966 Tristan Tzara, Paris

Winston Collection, 1954
Born in Strassburg, then part of German Alsace-Lorraine.
EXHIBITIONS:
Began career as a poet. 1904 published first poems; began to
D.I. A., 1957-58, no. 7, p. 35. Did not travel
study art. Travelled to Germany, Paris. E.xhibited 1911 Blaue
Vassar College Art Gallery, Poughkeepsie, New York, May
Keiter exhibition, 1913 Erster Dentscher Herbstsalon. 1915
19-June 10, 1961, Centennial Loan Exhibition: Drawnigs
to Zurich. 1916-19 co-founder Dada movement. After 1916
and Watercolors from Alumnae and Their Fatnilies, no. 113,
made wood reliefs based on arrangements "according to the
laws of chance." 1919-20 met Ernst and Schwitters. Partici-
ill. Travelled to Wildenstein & Co., New York, June 14-
September 9, 1961. (hereafter cited as Vassar College, 1961,
pated in Dada and movements during 1920's. 1922
Surrealist
Centennial Loan Exhibition)
married artist Sophie Tauber. 1926 settled in Meudon,
D.I.A., 1962, French Drawings and Watercolors
France. 1930 first papiers dechires. 1931-32 first sculpture in
Indiana University, r97i. Reflection, no. 13, pp. 23, 33, ill.
the round; member Abstraction-Creation. 1940's many
p. 23
poems and woodcuts; 1946 first complete collection of
D.I.A., 197^-73
poems published. 1949-50 first trip to United States. 1958
retrospective The Museum of Modern Art, New York. 1959 REFERENCES:
married Marguerite Hagenbach. 1963 Grand Prix National
Huyghe, Rene and Jean Rudel, L'Art et le monde moderne:
des Arts, Paris. 1950's and 6o's monumental work.
Volume 1, 18S0-1920, Librairie Larousse, Paris, 1969, no.
Died in Basel.
1 148, ill. p. 367. (hereafter cited as Larousse, 1969)
D.K., "Modern Masters in Groups," The Milwaukee
Journal, April 11, 1971, part 5, p. 6, ill.

G-191

Like the two other Arp drawings— both titled Abstract

Form, c. 1922 — this one is an automatic drawing. It was not
originally intended as a portrait of Tristan Tzara, although
Lydia Malbin felt it looked enough like him to be
named for him.

36
 >0<l
:)
i ^^

^\^
"N^^^^^^

^x^

V
 JEAN ARP

Abstract Form I. c. 1922

Ink on paper, 10 x 8"

I.r. "ARP"

PROVENANCE:
Tristan Tzara, Paris
Winston Collection, 1954

EXHIBITION:

D.I.A., 1957-58, p. 79. Did not travel

REFERENCE:

Indiana University, 1971, Reflection, no. 14, pp. 17, 34, il

p. 16

G-181

38
7. JEAN ARP

Abstract Form //. c. 1922

Ink on paper, 10 x 8"

l.r. "ARP"

PROVENANCE:
Tristan Tzara, Paris
Winston Collection, 1954

EXHIBITION:

D.I. A., 1957-58, p. 79. Did not travel

REFERENCE:

Indiana University, 1971, Reflection, no. 15, pp. 17, 34,

P-37

G-182

39
JEAN ARP 9. JEAN ARP

Bird Forms. 1922 Lunar Armor (Cuirasse lunaire). 1938

Wood, 271/2 X 9% X 21/4" Granite, 12% x 14%"

Unsigned Unsigned

PROVENANCE: PROVENANCE:
Walter P. Chrysler, Jr. the artist, Basel
The Pinacotheca Gallery, New York Winston Collection, 1956
Winston Collection, 1950
EXHIBITIONS:
EXHIBITIONS:
Kunsthalle, Bern, April 7-May 6, 1956, Hans Arp itnd Kurt
Cranbrook, 195 1, no. 86, ill. Schwitters, no. 7
University of Michigan, 1955, no. 3, p. 9 D.I. A., 1957-58, no. 8, p. 35, ill. p. z8
D.I. A., 1957-58, no. 6, p. 35. Did not travel
The Museum of Modern Art, New York, October 8-Novem-
ber 30, 1958, Jean Arp, Retrospective, no. 77, p. 122, ill. p. 70
W-140
D.I.A., 1972.-73

REFERENCES:

Arp, Jean, On My Way: Poetry and Essays, 1912-1947,

Wittenborn, New York, 1948, pi. 29-a,b
Degand and Arp, Aujoiird'hni, 1957, ill. p. 30
Giedion-Welcker, Carola, Jean Arp, New York, 1957, no. 50,

p. 109
"The Winston Collection on Tour," Arts, ill. p. 35

Vassar Alumnae Magazine, 1958, ill. p. 11

Baro, Art in America, 1967, ill. p. 76

Baro, The Collector in America, 1971, p. 182

W-139

Upon seeing this work at the joint Arp-Schicitters exhibition

in Bern in 1956, the Winstons were most anxious to count it

among the other objects in their rapidly growing collection.

After inquiring about the piece, they found that it belonged
to the artist and was not for sale. The sculpture moved them
so much however that they telephoned Arp and subsequently
went him and Marguerite Hagenbach in Basel.
to visit
By the end of the visit, they had acquired Lunar Armor,
having also formed the basis of what was to be a long and
deep friendship with the artist and his future wife.

According to Marguerite Hagenbach-Arp, this sculpture of

her husband's is "a unique original, directly carved in pink

limestone [sic] by Jean Arp." (quoted and translated from a
letter in French to Lydia Winston Malbin, October 15, 1968.)
It is one of the few pieces on which he actually worked
himself and which was one of his "anonymous stones."

40
 lo. JEAN ARP

Dream Column; The School Boy (Colonne de reve;

L'Ecolier). I938;i958

Limestone and bronze

Two sections: zoV^ x 8^4 x 3%" top; 24 x 7% x

7 %" bottom; 42.1/2" total height

Unsigned

PROVENANCE:
the artist, Meudon
Winston Collection, 1958

EXHIBITION:

D.I.A., 1972-73

REFERENCE:

Trier, Eduard, Jean Arp, Sculpture— His Last Ten Years,

Abrams, New York, 1968, no. 172, p. 109, ill. p. 108

W-141

The upper portion dates from 1938, whereas the lower was
made in 1958. The artist combined the two parts to make a
single sculpture.

42
 REFERENCES:

Roux, O., "La LXXIV Esposizione Internazionale di Belle

Arti a Roma," Natura e Arte, vol. 26, 1903-04, p. 159

'
Bertolucci, Attilio, "La casa del futurista," L'llhtstrazione

italiana, vol. 85, no. i, January 1958, ill. p. 61

"Italian Art of the 20th Century from American Collec-
tions," Art International, vol. IV, no. 5, May 25, i960,

Giacomo Balla 1871-1958 ill. p. 21

Gambillo, Maria Drudi and Teresa Fiori, Archivi del

futiirismo, 1962, De Luca, Rome, vol. 2, no. 8, p. 151, ill.

Born in Turin. Studied art evenings in Turin. 1895 to Rome
p. 67 (hereafter cited as Archivi del futurismo)
which remained center of his activity; worked as illustrator,
Crispolti, Enrico, "Situazione e percorso di Balla," Galleria
caricaturist, portrait painter. 1900-01 in Paris for 7 months.
Civica d'Arte Moderna, Giacomo Balla, 1963, p. 6
Upon return to Rome met Boccioni, Severini, Sironi; taught
Ballo, Guido, Boccioni, II Saggiatore, Milan, 1964, no. 58, ill.
them Divisionist technique. Signed later editions of two
p. 67 (hereafter cited as Ballo, Boccioni, 1964)
Futurist painting manifestos, 1910; however did not
Barricelli, Anna, Balla, De Luca, Rome, 1967, pi. 8
participate importantly in Futurist activities until 1913.
Bellonzi, Fortunate, // divisionismo nella pittura italiatm,
Was painter, sculptor, theater and interior designer and
Fabbri, Milan, 1967, ill. p. 73
playwright. Sustained Futurist impetus longer than other
Calvesi, Maurizio, "Penetrazione e magia nella pittura di
early participants; became leader of later phases of move-
Balla," L'Arte moderna, vol. v, no. 40, 1967, ill. p. 153
ment. Middle 1930's returned to more figurative style in
Fagiolo dell'Arco, Maurizio, "Boccioni, Beyond Painting,"
somewhat Impressionist manner.
Art International, vol. XI, no. i, January 20, 1967, p. 17

Francoeur, Chicago Mid-West Art, 1967, ill. p. 8

Fagiolo dell'Arco, Maurizio, Balla pre-juturista, Bulzoni,

II. GIACOMO BALLA Rome, 1968, no. 35, ill. pp. 18, 41 (hereafter cited as Fagiolo,
Balla, 1968)
Work {II Lavoro). 1902
Fiori, Teresa, Archivi del divisionismo, Officina, Rome,
Oil on canvas, 68x481/2"
1968, vol. 2, no. 1716, p. 139, ill. pi. 349 (hereafter cited as
1.1. "BALLA 1902"; l.r. "BALLA"; on reverse " 'Lavoro' di Archivi del divisionismo)

Giacomo Balla, 1902, Roma" Martin, Marianne W., Futurist Art and Theory, i')o<)-i')i;.

Clarendon Press, Oxford, 1968, p. 74, pi. 35 (hereafter cited

PROVENANCE: as Martin, 1968)

the artist Bare, The Collector in America, 1971, ill. p. 181

Umberto Spironello, Rome Galleria Nazionale d'Arte Moderna, Rome. December 23,

Luce and Elica Balla, Rome, 1952 1971-February 27, 1972, Giacomo Balla, "Documenti foto-

Winston Collection, 1959 grafici," ill., n.p.

EXHIBITIONS: W-13

Societa Amatori e Cultori, Rome, 1904, LXXV/ Esposizione

Internazionale di Belle Arti, no. 1057
The painting shows Balla's mastery of Italian Divisionism as

well as his fascination with the effects of nocturnal illumina-

XXVI Biennale, Venice, June 14-October 19, 1952, no. 50,
39S tion. His concern with social questions is suggested here and
p.

Palazzo Reale, Milan, April 30-June 26, i960, Arte italiana

in a number of other pre-Futurist works.

del XX secolo da collezioni americane, no. 8, p. 192, ill. p. 24.

Travelled to Galleria Nazionale d'Arte Moderna, Rome, July

6-September 18, i960. Special New York showing at
Santini Brothers Warehouse, October 24 and 26, i960
(hereafter cited as Milan, i960. Arte italiana)
The Museum of Modern Art, New York, May 31-September
5, 1961, Futurism, no. i, pp. 19-20, 141, ill. p. 18. Travelled
to The Detroit Institute of Arts, October i8-December 19,
1961; Los Angeles County Museum, January 14-February 19,
1962 (hereafter cited as Museum of Modern Art, 1961,
Futurism)

44
 II. GIACOMO BALLA
Spring Buds (Germogli primaverili). c. 1906

Oil on canvas, 19I4 x 29I4"

1.1. "balla"; l.r. "balla"

PROVENANCE:
Luce Balla, Rome
Winston Collection, i960

EXHrBlTIONS:

VIII Quadriennale, Rome, 1959-60

XXX Biennale, Venice, June i8-October 16, i960, no. 4,

p. 13

REFERENCES:

Ballo, Boccioni, 1964, no. 66, ill. p. 71

Archivi del divisionismo, vol. 2, no. 1791, p. 144, pi. 364

Fagiolo, Balla, 1968, no. 85, ill. pp. 15, 46

W-38

Balla has depicted a favorite early motif: the view from his
Roman (now via Paisiello) onto the row
studio in via Parioli
of trees, shown below, which divided his yard from the
adjoining meadow of the Villa Borghese that fills most of the
canvas. The mysterious and dramatic shadow on the left
may have been cast by a wall.

^
i^}

*??fc- ,"7i;fc;„,

46
13. GIACOMO BALLA
The Stairway of Farewells (Gli addii scala; Salutando).

c. 1908

Oil on canvas, 40% x 41"

l.r. "balla"

PROVENANCE:
the artist
Benedetta Marinetti, Rome
Winston Collection, 1958

EXHIBITIONS:

Societa di Amatori e Cultori, Rome, 1910, LXXX Exposi-

zione Internazionale di Belle Arti, no. 194, Tav. VI
Milan, i960, Arte italiana, no. 9, p. 192, ill. frontispiece
Museum of Modern Art, 1961, Futurism, no. 3, p. 141, ill.

p. 15

D.I.A., 1972.-73

REFERENCES:

Colasanti, Arduino, "L'Esposizione internazionale d'arte in

Roma," Emporium, vol. XXXI, no. 185, May 1910, p. 384
ApoUonio, Umbro, "II cinema tra spettacolo e arte figur-

ativa," La Biennale di Venezia, no. 4, April 1951, ill. p. 41

Lucas, John, "Rome— Italian art from American Collections
. . . the journalists draw a moral," Arts, vol. 34, no. 10,
September i960, ill. p. 19
Archivi del fiitttrismo, vol. 2, no. 13, p. 152, ill. p. 69
Winston, Aujoitrd'hui, 1962, ill. p. 7

Carrieri, Raffaele, Futurism, Milione, Milan, 1963, pi. 18

Taylor, Collections, 1963, p. 302

Crispolti, Enrico, "Situazione e percorso di Balla," Galleria

Civica d'Arte Moderna, Turin, Giacomo Balla, 1963, p. 15

Artist, Jr., vol. 5, no. 3, January 1964, ill. on cover

Stelzer, Otto, Kunst und Photographie, Piper, Munich,
1966, p. 122, pi. 118
Baro, Art in America, 1967, ill. p. 73
Barricelli, Anna, Balla, de Luca, Rome, 1967, pi. 24
Calvesi, Maurizio, "Penetrazione e magia nella pittura di
Balla," L'Arte moderna, vol. V, no. 40, 1967, ill. p. 153
Archivi del divisiotiismo, vol. 2, no. 1790, p. 145, pi. 364
Fagiolo, Balla, 1968, no. 94, ill. pp. 26, 46
Martin, 1968, pp. 75-76, pi. 37
Miesel, The Connoisseur, 1968, fig. 7, ill. p. 262
Scharf, Aaron, Art and Photography, Lane, London,
1968, p. 289
Larousse, 1969, no. 10S9, ill. p. 350

Baro, The Collector in America. 1971, ill. p. 181

Galleria Nazionale d'Arte Moderna, Rome, 1972, Giacomo
Balla, "Document! fotografici," ill., n.p.

W-17

47
This finely organized canvas anticipates some important
artistic desiderata of Futurism. Its hazardous and uncustom-
ary angle of vision like a vortex draws the spectator into the
depths of the picture. Balla's novel viewpoint as well as his
exploration of the dynamic potential of lines and shapes
were suggested at least in part by photographic experiments.
Thus the compelling image of the continuum of motion
created by the spiralling steps is an imaginative analogue
to the abstract oscillation patterns which Etienne-Jules
Marey derived from his chronophotographic images of
moving objects. Such abstract schemata were points of
departure not only for Balla's Futurist representation of
velocity, but also for works such as Boccioni's Uniqiie Forms
of Continuity i?i Space.
14. GIACOMO BALLA REFERENCES:

Archivi del futurisino, vol. z, no. 6$, p. 154, ill. p. 82

Study related to "Abstract Velocity"; Study for "Materiality
Francoeur, Chicago Mid-West Art, 1967, ill. p. 9
of Lights + Speed." c. 1913 Hamilton, George Heard, Painting and Sculpture in Europe,
Gouache on paper, 11% x 17" 1880-1940, Penguin, Baltimore, 1967, pi. 109B, pp. 182-83

1.1. "futur balla" Dorazio, Virgina Dortch, Giacomo Balla: An Album of

His Life and Work, Wittenborn, New York, 1970, no. 114,
provenance: ill., n.p. (hereafter cited as Dorazio, Balla, 1970)

Rose Fried, New York W-31

Winston Collection, 1954

EXHIBITIONS: In 1915 Balla declared that he had executed "more than

twenty paintings" in which he "stud[ied] the speed of auto-
Rose Fried Gallery, New York, January 25 -February z6,
mobiles, and in so doing discovered the laws and essential
1954, The Futurists: Balla, Severini, i')iz-i8, no. 10
force-lines of speed." He may well have counted this gouache
University of Michigan, 1955, no. 4, p. 9
among the group, four of which were illustrated in
D.I. A., 1957-58, no. 12., p. 35, ill. p. 36
Boccioni's Pittura scultura futuriste, published in 1914. Two
The Museum Modern Art, New York, November 25,
of
of these are entitled respectively. Materiality of Lights +
1968-February 9, 1969, The Machine: As Seen at the End of
Speed and Abstract Velocity, and this picture seems to be a
the Mechanical Age, ill. p. 56. Travelled to The University
close variant of the latter. Its terse abstraction provides
of St. Thomas, Houston, March 15-May 18, 1969; The San
a lucid ideogram of the interaction of speed, sound, light
Francisco Museum of Art, June Z3-August 24, 1969 (here-
and dust, attesting to Balla's mastery of this paradigmatic
after cited as Museum of Modern Art, The Machine,
Futurist subject.
1968-69)
D.I.A., 197^-73

49
 8

15. GIACOMO BALLA Balla's abstract, analytical studies of color date from a trip
to Diisseldorf during the winter of 1912. There he began a
Iridescent Interpenetration (Compenetrazione iridescente). series of small watercolors in which contrasting or more

Oil on canvas, 391/8 x 23" closely related colors are arranged in patterns made up of
variously shaped triangles or segmented circles. At present
I.l. vertically "BALLA 1912"; on reverse "Compenetrazione
it is not known when Balla began to consider these abstract
Iridescente/G. Balla" studies as the basis for self-sufficient paintings such as the
splendid example in the Winston/Malbin Collection. The
PROVENANCE:
first oil versions of this theme seem to have been executed
Luce Balla, Rome for decorative purposes from c. 1913 onward. Balla appears
Winston Collection, 19^0 not to have dared or cared to exhibit these significant
experiments until the 1950's when the evolution of abstract
EXHIBITIONS:
art was newly reconsidered.
Galleria Origine, Rome, April 1950, Omaggio a G. Balla

fiittirista, no. 18
Amici della Francia, Milan, November lo-December 2,

195 1, Giacomo Balla, no. 6

Galleria Selecta, Milan, April 27-May 11, 1956, Balla,

Opere scelte del periodo futurista

Galerie Cahiers d'Art, Paris, April 12-May 11, 1957,

Giacomo Balla, no. i

Palazzo Barberini, Rome, Spring 1959, llfuttirismo, no. 51,

p. 61
XXX Biennale, Venice, June i8-October 16, i960, no. 5,

p. 13
Museum of Modern Art, 1961, Futurism, no. 7, p. 141, ill.

p. 62
D.I.A., 1971-73

REFERENCES:

Colla, Ettore, "Pittura e scultura astratta di G. Balla," Arti

visive, September-October, 1952, ill., n. p.

Winston, Atijoiird'hui, 1962, ill. p.

Taylor, Collections, 19S3, ill. p. 297

Galleria Civica d'Arte Moderna, Turin, 1963, Giacomo
Balla, p. S^

Calvesi, Maurizio, "Penetrazione e magia nella pittura di

Balla," L'Arte moderna, vol. V, no. 40, 1967, ill. p. 132
Rickey, George, Constructivism: Origins and Evolution,
Braziller, New York, 1967, p. 14, fig. 12, p. 15
Fagiolo dell'Arco, Maurizio, Le "Compenetrazioni
Iridescenti," Bulzoni, Rome, 1968, no. i, p. 43
Martin, 1968, pi. 171, pp. 176-77
Fagiolo dell'Arco, Maurizio, "Futur-BALLA," Metro,
no. 13, New Series, 1968, ill. no. iz, p. 61
Huyghe, Rene, L'lmpressionnisme, Realites-Hachette, Paris,

i97i,P-3i7, ill-P-275
Apollonio, Umbro, ed. Futurist Manifestos, Viking, New
York, 1972, pi. 64
Fagiolo dell'Arco, Maurizio, "The Futurist Construction of
the Universe," Italy. The Neiv Domestic Landscape:
Achievements and Problems of Italian Design, The Museum
of Modern Art, New York, 1972, p. 296
Rye, Jane, Futurism, Studio Vista, London, 1972, ill. p. 69

W-16
If sir ifUEi HTl^ teawr

50
i6. GIACOMO BALLA
Goldfish (Soleil ail couchant poisson roiige-mer). c. 1914

Pastel on paper, 9I/4 x 14I/4"

Unsigned

PROVENANCE:
the artist
Benedetta Marinetti, Rome
Winston Collection, 1958

W-33

Balk presented this drawing to A'ladame Marinetti when

she was working in his studio, probably during 1914. It is
evidently related to Balla's numerous studies of velocity that
occupied him from 1913 onward. Compare, for example,
nos. 137, 139, ill. p. 97, Archivi del futtirismo, vol. 1.

51
ly. GIACOMO BALLA
Study for "Mercury Passing before the Sun." 1914

Gouache on paper, 25% x 19%"

1.1. "FUTUR BALLA 1914"; on reverse "STUDIO PER IL-

MERCURIO CHE PASSA/DAVANTI AL SOLE/NEL

TELESCOPIC"

PROVENANCE;
rhe artist
Benedetta Marinetti, Rome
Winston Collection, 1954

EXHIBITIONS:

University of Michigan, 1955, no. 6, p. 9

D.LA., 1957-58, no. 14, p. 35, ill. p. 36
The Baltimore Museum of Art, October 6-Novemher 15,

1964, 1914: An Exhibition of Paintings, Drawings and

Sculpture, no. 5, p. 82, ill. p. 76

REFERENCES:

Archivi del futiirismo, vol. 2, no. 138, p. 158, •P-97

Baro, The Collector in America, 1971, p. 182

W-25

This is one of several studies related to two larger versions of

the subject: one is in the collection of Dr. Gianni Mattioli,
Milan, the other in the Museum des 20. Jahrhunderts,
Vienna. Very possibly the partial eclipse of the sun of
November 7th, 1914, provided the impetus for this series.

Verso:
Pencil drawing of abstract forms similar to those used in the
series of Interventionist Demonstrations (Dimostrazioni
interventiste) of c. 1915. Inscription in pencil: "Via Paisiello
ORE 9 domani".

52-
i8. GIACOMO BALLA EXHIBITIONS:

The Solomon R. Guggenheim Museum, New York, Novem-

Vortex + Line of Velocity (Vortice + linea di velocita;
ber 6, I9(53-January 5, 1964, zoth Century Master Draivings,
Vortice) c. 1914-15 no. 3. Travelled to University Gallery, University of Minne-

Pencil on paper, 16% x 25" sota, Minneapolis, February 3-March 15, 1964; The Fogg
Art Museum, Cambridge, April 6-May 14, 1964 (hereafter
1.1. "FUTUR BALLA"
cited as Guggenheim, 1963-64, 20th Century Drawings)
PROVENANCE: D.LA., 1972-73

Luce Balla, Rome REFERENCE:

Winston Collection, i960 Archivi del futurismo, vol. no. 109, p. 157,
2, ill. p. 92

G-176

CI

53
15), GIACOMO BALLA A related graphic motif of Boccioni's Fist appeared on the
front page of Italia Futurista of August 25th, 1916, which
Fist of Boccioni; Force-Li?ies of the Fist of Boccioni (Piigno was dedicated to Boccioni who had died eight days earlier.
di Boccioni; Linee forze del pugno di Boccioni) This dynamic design may originally have been intended as a

Plastic complex (complesso plastico): cardboard, wood and letterhead for the Futurist movement, and was used as such
subsequently. It may have been conceived in 1915. The
paint, 33 X 31 X 121/2"
translation of the motif into three dimensions is consonant
Unsigned with the notion of "plastic complexes" as explained in Balla

and Depero's manifesto The Futurist Reconstruction of the

PROVENANCE: Universe of March 1915. The sculpture illustrated there (now
LuceBalla, Rome lost), as well as Balla's set for Diaghilev's 1917 production of
Winston Collection, 1959 Feu d'artifice, made up of moving, abstract colored com-
plexes, suggest that Boccioni's Fist may well have been
EXHIBITIONS:
executed during these years.
Museum of Modern Art, i9<5i. Futurism, no. 18, p. 142,

ill. p. 117
D.I.A., 1972.-73

REFERENCES:

Marchi, Virgilio, "Studio futurista di Balla," // Fiiturismo,

vol. I, no. 4, October z, 1931, ill. p. 14

Bertolucci, Attilio, "La casa del futurista," L'Ultistrazione

Italiana, vol. 85, no. i, January 1958, ill. p. 59

Calvesi, Maurizio, "II futurismo e I'avanguardia europea,"
La Biennale di Venezia. vol. IX, nos. 36-37, December 1959,
ill. p. 30
Pearlstein, Philip, "Futurism and Some Other Corrupt
Forms," Art News, vol. 60, no. 4, Summer 1961, ill. p. 33

Archivi del futurismo, vol. 2, no. 224, p. 165, ill. p. 116

Galleria Civica d'Arte Moderna, Turin, 1963, Ciacomo
Balla, p. 108
Taylor, Collections, 1963, pi. 303
Read, Herbert, A Concise History of Modern Sculpture,
Praeger, New York, 1964, no. 123, pp. 134, 288, ill. p. 124
(hereafter cited as Read, Modern Sculpture, 1964)
Baro, Art in America, 1967, ill. p. 76
Calvesi, Maurizio, "Penetrazione e magia nella pittura di
Balla," L'Arie moderna, vol. V. no. 40, 1967, ill. p. 142
Fagiolo dell'Arco, Maurizio, Omaggio a Balla, Bulzoni,
Rome, 1967, p. 47
Crispolti, Enrico, "Balla scultore," Arte illustrata, no. 2,

February 1968, ill. p. 21

Fagiolo dell'Arco, Maurizio, Balla: Ricostruzione futurista
dell'imiverso, Bulzoni, Rome, 1968, ill. no. 39, pp. 29, 77
Barilli, Renato, La sadtura del novecento, Fabbri, Milan,
I968,pl. 34,p. 53
Dorazio, Balla, 1970, ills. nos. 159, 182, 191
Baro, The Collector in America, 1971, ill. p. 182
Galleria Nazionale d'Arte Moderna, Rome, December 23,
1971-February 27, 1972, Giacomo Balla, p. 167
Rye, Jane, Futurism, Studio Vista, London, 1972, ill. p. 53
Musee d'Art Moderne de la Ville de Paris, May 24-July 2,

I')-] 2., Balla, p. 150

W-14

55
 "

20. GIACOMO BALLA

Crowd and Landscape (Folio + Paesaggio; Paesaggio Folic

Patriottiche). 1915?

Collage on paper, 60 x zfi'/^

I.e. "BALLA FUTURISTA/I9I5"

PROVENANCE:
the artist
Benedetta Marinetti, Rome
Winston Collection, 1958

EXHIBITIONS:

Museum of Modern Art, 1961, Futurism, no. 17, p. 142

D.LA., 1969, Friends of Modern Art, no. 23

REFERENCES:

Archivi del fiititrismo, vol. 2, no. 230, p. 165, ill. p. 117

Wescher, Herta, Collage, Abrams, New York, 1968, pi. 52,

p. 403

W-21

Balla created this collage expressly for Marinetti to cover the

mirror of his wardrobe because its reflections bothered the
Futurist leader, who was ill at the time. Two other versions
of this collage exist. The flat figure-eight has recently been
interpreted as the emblem of the House of Savoy, the ruling
Italian dynasty, thus representing a possible allusion to the

vehement debate that raged in 1915 between the pro-inter-

vention king and the anti-intervention government. On
stylistic grounds, however, a date of c. 1918 would seem to
be indicated; this is supported by the fact that Marinetti,
who was injured at the front in 1917, was still convalescing
in 1918.

56
 21. GIACOMO BALLA
Futurist Necktie (Cravatta futurista). c. 1916

Watercolor, gouache and pencil on paper, 5 x 6Vs"

u.c. "No. 10 CRAVATTA FUTURISTA/ BALLA"

PROVENANCE:
Rose Fried Gallery, New York
Winston Collection, 1954

REFERENCE:

Dorazio, Balla, 1970, no. 195. Balla shown wearing one of

his neckties, 1925

W-236

Balla frequently wore Futurist outfits, as described in his

manifesto Anti-neutral Clothing (cat. no. 242), and his ties

especially caused sensations. Later accounts, perhaps some-

what embroidered, include Marinetti's story of Balla's
painted and sugared metal ties. And the architect Virgilio
Marchi recalls that the technical failures of the 1917
premiere of Balla's set for Feu d'artifice were counteracted
by the artist's appearance on stage with a tie that had
blinking lights.

58
GIACOMO BALLA
Piith of a Gunshot (Colpo di fucile). c. 1918

Oil on canvas, 14I4 x 177^,"

1.1. "BALLA FUTURISTA"

PROVENANCE:
II Milione, Galleria d'Arte Moderns, Milan
Winston Collection, 1954

EXHIBITION:

D.LA., 1957-58, no. II, ill. p. 35. Did not travel

REFERENCE:

Mellquist, XX^Siecle, 1958, ill., n.p.

W-Z7

This is a pictorial representation of a noise perceived at

great velocity. In October 1918, Balla exhibited a number of
works with the Colpo di fucile domenicale (Path of a
title

Sunday Gunshot) at the Casa d'Arte Bragaglia, Rome, but it

is difficult to ascertain whether this painting was included.

Very possibly Balla alludes in this series to the revolutionary

political activities of the Futurists at the time.

59
23- GIACOMO BALLA REFERENCES:

Cahiers d'Arl, vol. XXV, no. i, 1950, ill. p. 67

The Injection of Futurism (Iniezione di futurismo). c. 1918
Saarinen, Art Netvs, 1957, fig. 2, p. 65, ill. p. 33

Oil on canvas, 31% x 45 14" Mellquist, XX^ Steele, 1958, ill., n.p.

l.r. "INIEZIONE DI FUTURISMO/ BALLA/ FUTURISTA" Ashton, Dora, "L'Exposition du Futurisme a New York,"
XX*^ Siecle, Nouvelle Serie, no. 17 (Noel) 1961, "Supple-
(Frame made and painted hy the artist)
ment— Chroniques du jour," ill. p. 149

PROVENANCE: Archivi del futurismo, vol. 2, no. 314, p. 171, ill. p. 134
Carrieri, Raffaele, Futurism, Milione, Milan, 1963, pi. 88
the artist
Galleria Civica d'Arte Moderna, Turin, 1963, Giacomo
Benedetta Marinetti, Rome
Balla, p. 82
Winston Collection, 1954
Taylor, Collections, 1963, p. 294, ill. p. 303
EXHIBITIONS: Baro, Art in America, 1967, ill. p. 77
Calvesi, Maurizio, "Penetrazione e magia nella pittura di
III Rome, 1915, no. II
Biennale,
Balla," L'Arte moderna, vol. V, no. 40, 1967, ill. p. 134
V Quadriennale, Rome, 1948, no. 4, ill. p. 37
Galleria Origine, Rome, April 195 1, Omaggio a G. Bulla
Miesel, The Connoisseur, 1968, fig. 2, ill. p. 260

futurista, no. i W-Z3

University of Michigan, 1955, no. 5, ill. p. 17
D.I.A., 1957-58, no. 13, p. 35, ill. p. 37
Museum of Modern Art, 1961, Futurism, no. 20, p. 142,
ill. p. 16
D.I.A., 197^-73

60
The vitalizing effect of Futurism with its explosive and gay 24. GIACOMO BALLA
atmosphere is suggested in this painting. Just off center to
the right Balla shows Marinetti in characteristic declamatory Self Portrait (Aiitoritratto). c. 1920
poses, wearing a red and green Futurist outfit in accordance Ink on paper, 9'/^ x 8'/^"
with Balla's 1914 manifesto, Anti-neutral Clothing. The large
u.c. "BALLA/FU/TU/RISTA"
encircled eye on the left, the two oval forms within the
leftward moving arrow, as well as the "abstract" shapes on PROVENANCE:
the right refer to the beauteous Marchesa Casati whose
Luce Balla, Rome
celebrated literary and artistic salon in Rome seems to have
Winston Collection, i960
inspired this picture. Balla's lost relief portrait of the
Marchesa, which apparently had moving parts, contained REFERENCE:
similar individualizing features (illustrated in Archivi
Dorazio, Balla, ill. on jacket in green
del futurismo, vol. 1, no. zi6, ill. p. 115).
G-178

61
 25. MARIA BLANCHARD
Composition with Figure (Composition avec Personnagej.
1916

Oil on canvas, 51 x 37%"

Unsigned

Maria Blanchard 1881-1932 PROVENANCE;

Van Leer, Amsterdam
Born in Santander, Spain. 1906 went to Paris; Andre Lhote Galerie de I'lnstitut, Paris

introduced her to Cubist painters. 1913 returned to Spain. Winston Collection, 1956 '

1916 settled in Paris; established close contacts with

EXHIBITIONS:
Gris, Metzinger, Lipchitz and Rivera. Works emphasize
contours of forms with freely modeled surfaces; style is
Galerie de I'lnstitut, Paris, November i8-December 14, 1955,

geometric but never totally abstract. 1919 work became Maria Blanchard Periode Cubiste, no. 10, p. 7, ill. p. 15

more realistic, though Cubist structure retained. Portrayed D.LA., 1957-58, no. 15, p. 38, ill. p. 40
men and women in scenes from daily life and solitary REFERENCE:
children. Palette of earth colors heightens melancholic
Degand and Arp, Aujourd'hiii, 1957, p. 31
feeling. Died in Paris.

62
 z6. UMBERTO BOCCIONI
Self Portrait (Autoritratto). c. 1908

Oil on canvas, Z014 x 27"

l.r. "Boccioni"

PROVENANCE:
Umberto Boccioni 1882-1916 Raffaela Callegari-Boccioni, Verona
Winston Collection, 1958
Born in Reggio Calabria. 1897 completed studies at Istituto
EXHIBITION:
Tecnico, Catania; moved to Rome c. 1900. 1901 with
Severini worked in Balla's studio. Travelled extensively in
Museum of Modern Art, 1961, Futurism, no. 11, p. 142

Italy; 1906, 1908 visited Paris; 1906 to Russia. Late 1907 REFERENCES:
settled in Milan. With help of Carta and Russolo wrote two
Falqui, Enrico, Bibliografia e iconografia del fiitiirismo,
Futurist painting manifestos, 1910. Became the leading
Sansoni, Florence, 1959, Tav. VI, p. 15
figure and spokesman of Futurists' artists' wing: numerous
Kramer, Hilton, "Futurism Today," Arts Magazine, vol. 36,
influential theoretical writings. Pittiira, scultura futiiriste
no. I, October 1961, ill. p. zz
(dinamismo plastico), published 1914. From 1911-iz
Archii'i del fiitiirismo, vol. z, no. 55, p. 255, ill. p. 187
created important sculpture. By late 1913 had begun to turn
Ballo, Boccioni, 1964, no. 22, ill. p. 435
toward Cezanne. Enlisted and fought at front with other
Calvesi, Maurizio, "II manifesto del futurismo e i pittori
Futurists, killed during cavalry exercises in Verona.
futuristi," L'Arte moderna, vol. V, no. 37, 1967, ill. p. 38
Archii'i del divisionismo, vol. z, no. 2220, p. 182, pi. 465

Bruno, Gianfranco, L'Opera completa di Boccioni, Rizzoli,

Milan, 1969, no. i6a, ill. p. 88 (hereafter cited as Bruno,
Boccioni)

W-15

64
*,^o^.^-.
27. UMBERTO BOCCIONI A date of 1914 has frequently been given to this powerful
work, but both the subject and its interpretation suggest an
The Street Pavers (1 Selcialori). 1911 earlier execution, probably during the summer of 1911. The

Oil on canvas, 39% x 39%" theme of a worker is thus directly related to Boccioni's hymn
to labor. The City Rises of 1910-11 at The Museum of
1.1. "UB"
Modern Art, New York. He did not return to this subject in

PROVENANCE: later years. Furthermore, the multiple image of one man

seen from different points of view is an early attempt at
Romeo Toninelli, Milan
presenting an image of continuing motion that was subse-
Carlo Cardazzo, Galleria d'Arte del Naviglio, Milan
quently rejected in favor of a more synthetic form. Lastly,
Winston Collection, 1954
the still hesitant and superficial allusions to Cubism found
EXHIBITIONS: here, suggest that only a second-hand knowledge of this

approach was available to Boccioni at the time. Nonetheless,

Galleria Centrale d'Arte (Palazzo Cova), Milan, December
these vigorous street pavers with their sharp, angular move-
18, 1916-January 14, 1917, Grande Esposizione Boccioni,
ments and clanking sounds are worthy younger brothers of
Pittore e Sciiltore Futurista, no. 10
Umberto Courbet's Stone Breakers of 1849, which he may well have
Bottega di Poesia, Milan, March lo-zi, 1914,
seen at the 1910 Venice Biennale.
Boccioni, no. 13
The Museum of Modern Art, New York, June z8-September
18, 1949, XX Century Italian Art, pp. 9, 12.6, pi. i, p. 35
XXVI Biennale, Venice, June 14-October 19, r95i, no. 50,

p. 396
University of Michigan, 1955, no. 7, ill. p. 9

D.I.A., 1957-58, no. i6,p. 88

Museum of Modern Art, 1961, Futurism, no. 31, pp. 43, 142,

ill. p. 44
D.I.A., 1972--73

REFERENCES:

Carrieri, Raffaele, Pittura scultura d'avangiiardia (18^0-

19J0J in Italia, Conchiglia, Milan, 1950, ill. p. 16

Valsecchi, Marco, Umberto Boccioni, Cavallino, Venice,
1950, ill., n.p.

Argan, Guilio Carlo, Umberto Boccioni, De Luca, Rome,

1953, pi. 20
"The Winston Collection on Tour," Arts, 1958, ill. p. 37
De Grada, Raffaele, Boccioni, il mito del moderno. Club del
libro, Milan, 1962, tav. IX, pp. 158, 173, 178
"The Best in Art," Arts Yearbook, 6, 1962, p. 162
Archivi del fnturismo, vol. 2, no. 197, p. 263, ill. p. 208
Winston, Anjourd'hni, 1962, ill. p. 5

Carrieri, Raffaele, Futurism, Milione, Milan, 1963, p. 187,

pi. I

Taylor, Collections, 1963, ill. p. 294

Ballo, Boccioni, 1964, no. 580, pi. XLV, pp. 373, 471
Martin, 1968, p. 105 f, 158 note 2, pi. 73
Archivi del divisionismo, 1968, vol. 2, no. 2447, p. 197, pi. 506
Bruno, Boccioni, no. 178, p. 114, pi. LV
Baro, The Collector in America, 1971, p. 181
Apollonio, Umbro, ed. Futurist Manifestos, Viking, New
York 1972, no. 93, p. 229, ill. p. 168

W-22

67
2,8. UMBERTO BOCCIONI Francoeur, Chicago Mid-West Art, 1967, ill. on cover

Licht, Fred, Sculpture i^th and 20th Centuries: A History of

Anti-Graceful; The Mother; Portrait of the Artist's Mother Western Scidpture, New York Graphic Society, Greenwich,
(Antigrazioso; Le Madre; Ritratto della madre). 1912 i967.P-33^>pl-i2.o
Arnason, H. H., History of Modern Art: Painting-Sculpture-
Bronze, 24" high
Architecture, Abrams, New York, 1968, fig. 374, ill. p. 215

PROVENANCE: Martin, i96S,pp. 164, 167 f., pi. 151

Bruno, Boccioni, p. 108
Benedetta Marinetti, Rome
Marrits, Louis E., Modeled Portrait Sculpture, A. S. Barnes,
Winston Collection, 195S
South Brunswick, New Jersey, 344 1970, ill. p.

EXHIBITIONS: Golding, John, Boccioni's Unique Forms of Continuity in

Space, University of Newcastle-upon-Tyne, Newcastle-

D.I.A., 1957-58, no. 20, p. 38, ill. p. 42
upon-Tyne, 1972, p. 16, ill. p. 17
Milan, Arte italiana, no. 41, p. 194, ill. p. 51
Rye, Jane, Futurism, Studio Vista, London, 1972, ill. p. 82
Musee Nationale d'Art Moderne, Paris, October 20, 19S0-
January 20, 1961, Les Sources du XXeme siecle, no. 36, p. 24 W-20
Museum of Modern Art, 1961, Futurism, no. 48, pp. 87, 92,
I43,ill. p. 91
Boccioni's mother, like Cezanne's patient wife, was the
D.I.A., 197^-73
model and point of departure for many of his most searching
REFERENCES: efforts. She was the sitter for at least one other sculpture, the

Curjel, Hans, "Bemerkungen zum Futurismus," Das Kunst-

destroyed half-length Testa + casa + luce (Head + House
iverk, vol. V, no. 3, 1951, ill. p. 13
+ Light) of 1912, and for numerous paintings, drawings,

Argan, Giulio Carlo, Vmberto Boccioni, De Luca, Rome,

and prints, as shown by the many examples in this collection.

pi. 42
This is the only cast from the original plaster now in the
1953,
Giedion-Welcker, Carola, Contemporary Sculpture,
Galleria Nazionale d'Arte Moderna, Rome. It was made in

Wittenborn, New 1950-51 by Fratelli Perego, Fonderia Artistica, Milan.

York, i960, ill. p. 85

Degand and Arp, Aujourd'hui, 1957, ill. p. 30

Saarinen, Art News, 1957, fig. 5, p. 65, ill. p. 34
"The Winston Collection on Tour," Arts, 1958, ill. p. 36
Francastel, Pierre, "II futurismo e il suo tempo," La
Biennale di Venezia, vol. IX, nos. 36-37, July-December
1959, ill. p. 7
Seuphor, Michel, La Sculpture de ce siecle. Griffon, Neu-
chatel, Switzerland, 1959, p. 358, ill. p. 40. Published in
English as The Scidpture of this Century, Braziller, New
York, i960 (hereafter cited as Seuphor, Scidpture of this
Century, i960)
Pearlstein, Philip, "Futurism and Some Other Corrupt
Forms," Art News, vol. 60, no. 4, Summer 1961, ill. p. 30
De Grada, Raffaele, Boccioni, II mito del moderno, Club
del libro, Milan, 1962, Tav. 74, 75; pp. loi, 140, 146, 175,
i77> 343
Winston, Aujourd'hui, 1962, ill. p. 6
Barr, Margaret Scolari, Medardo Rosso, Museum of Modern
Art, New York, 1963, p. 63, ill. p. 62 (hereafter cited as Barr,
Rosso, 1963)
Taylor, Collections, 1963, p. 303
Ballo, Boccioni, 1964, no. 477, p. 500
Bowness, Alan, Modern Sculpture, Dutton, London, 1965,
ill. p. 125

68
29. UMBERTO BOCCIONI
Development of a Bottle in Space (Still Life) (Sviluppo di una

bottiglia nello spazio) (Natura morta)). 1912.-13

Bronze, 15 x 24"

Unsigned

PROVENANCE:
Benedetta Marinetti, Rome
Winston Collection, 1957

EXHIBITIONS:

D.I. A., 1957-58, no. 21, p. 38, ill. p. 44

Los Angeles County Museum of Art, December 15, 1970-

February 21, 1971, The Cubist Epoch, no. 9, pp. 232, 275, pi.
294, p. 295. In collaboration with The Metropolitan Museum
of Art, New York, April 7-June 7, 1971 (hereafter cited as
The Cubist Epoch, 1970-71)
D.I. A., 1972-73

REFERENCES:

Argan, Giulo Carlo, Vmberto Boccioni, De Luca, Rome,

1953.pl. 55
Saarinen, Art News, 1957, p. 65, ill. p. 64
Mellquist, XX^ Siecle, 1958, ill., n.p.

Canaday, John, Mainstreams of Modern Art, Holt, Rinehart

and Winston, New York, 1959, no. 632, pp. 473, 500, ill.

p. 501
Seuphor, Sculpture of this Century, i960, p. 358, ill. p. 358
Taylor, Collections, 1963, p. 295
Bowness, Alan, Modern Sculpture, Dutton, New York, 1965,
ill. p. 126
Barilli, Renato, La scultura del novecento, Fabbri, 1968,
pi. 28, pp. 46-47
Kramer, Hilton, "The Cubist Epoch," Art in America, vol.
59, no. 2, March-April 1971, ill. p. 54

W-26

Boccioni made three sculptures of bottles, but only this one

has survived. His first dynamic still life is found in the im-
portant but lost painting of a city-scene, Visioni simultanee
(Simultaneous Visions) of 191 1 (Archivi del futurismo, vol.

2, no. 278, ill. p. 223)

Of the original plaster, now in the Museu de Arte Con-

temporanea de Sao Paulo, four bronze casts were made: two
in 193 1 by Gaetano Chiurazzi, Rome, now in the Civica

Galleria d'Arte Moderna, Milan, and The Museum of

Modern Art, New York, and two in 1949 by Giovanni and
Angelo Nicci, Rome, now in the Kunsthaus Ziirich and
this collection. Another cast is in the collection of

Dr. Gianni Mattioli, Milan.

71
30. UMBERTO BOCCIONI Museum of Modern Art, New York, and two in 1949 by
Giovanni and Angelo Nicci, Rome, now in this collection
Unique forms of Continuity in Space (Forme iiniche della and that of Paolo Marinotti, Milan. The earlier edition did

contimiita nello spazio). 19 13 not include the flat double base of the original plaster.

In 1972 the Galleria La Medusa, Rome, commissioned a

Bronze, 481/2 x 34", including base
further edition of eight bronze casts, but it is not known
Unsigned whether they were taken from the earlier editions or, more
unlikely, from the original plaster. Another cast is in the
PROVENANCE:
collection of Dr. Gianni Mattioli, Milan.
Benedetta Marinetti, Rome
Winston Collection, 1956

EXHIBITIONS:

D.I. A., 1957-58, no. 18, p. 38, ill. on front and back cover
D.I. A., 1969, Detroit Collects, no. 17

D.I.A., 197:^-73

REFERENCES:

Degand and Arp, Aujoitrd'htii, 1957, ill. p. 30

Vassar Alumnae Magazine, 1958, ill. p. 11
Seuphor, Sculpture of This Century, i960, p. 358, ill. p. 43
Carrieri, Raffaele, "Boccioni peintre de sensations," XX^
Siecle, Nouvelle Serie, XXIII^ annee, no. 17, Noel, 1961,
p. 66
Kuh, Katherine, "Landmarks of Modern Art," Saturday
Review, January 17, 1962, p. 00, ill.

Winston, Aujoiird'hui, 196Z, ill. p. 5

Taylor, Collections, 1963, pp. 301, 303, ill.

Bowness, Alan, Modern Scidpture, Dutton, London, 1965,

ill. p. 72
Kuh, Katherine, Break-Up: The Core of Modern Art, New-
York Graphic Society, Greenwich, 1965, no. 30, p. 135,
ill. p. 51

Baro, Art in America, 1967, ill. p. 71

Rye, Jane, Futurism, Studio Vista, London, 1972, ill. p. 89

W-24

The theme of the strenuously active, moving figure engaged

Boccioni's best efforts during the peak years of his career.
A monumental paintings, drawings, and four
series of

sculptures reveal his consuming desire to give new life to the

ancient subject of the nude, which in 1910 was banned for
ten years from the Futurist vocabulary. This is the fourth and
final of the sculpted striding figures. The other three, indica-
tive of the rigorous self-criticism to which he subjected his
work, were destroyed after his death. (Archivi del futurismo,

vol. 2, nos. 328-331, ill. p. 232)

Four bronze castings were made from the original plaster,
now Museu de Arte Contemporanea
in the collection of the

de Sao Paulo: two in 1931 by Gaetano Chiurazzi, Rome,

now in the Civica Galleria d'Arte Moderna, Milan, and The

72-
31. UMBERTO BOCCIONI Boccioni's early evolution, unlike that of most other major
artists, lacked exposure to Cezanne and African sculpture.
Study for "The Drinker" (Studio per "ll Bevitore"). 1914 A meaningful encounter with both occurred only during the
Oil, gouache, and collage on paper, 11V2 x I4V'2" climactic years of Futurism. This collage is a singularly
frank, if anxious, statement of Boccioni's creative process.
l.r. "Boccioni"
The artist is trying to appropriate a Cezannian content as

PROVENANCE: well as Picasso's "Africanized" interpretation of Cezanne's

space and form, while seeking to imbue both with some
Neumann Galerie, Berlin
Futurist meaning.
Ruggero Vasari, Berlin, 1921
The painting to which this work is related is in the collection
Winston Collection, 1958
of Dr. Riccardo Jucker, Milan.

EXHIBITION:

Museum of Modern Art, 1961, Futurism, no. 64, p. 144

REFERENCES:

Archivi del futurismo, vol. z, no. 379, p. 272, ill. p. 242

Taylor, Collections, 1963, p. 303
Ballo, Boccioni, 1964, no. 574, p. 481, pi. 183, p. 258
Baro, Art in America, 1967, ill. p. 72
Miesel, The Connoisseur, 1968, ill. p. 260
Bruno, Boccioni, no. i8ib, ill. p. 115

W-18

73
 3z. CONSTANTIN BRANCUSI
The Blond Negress (La Negresse blonde). 1933
Polished bronze and stone, head 15 %" h; z bases, each

iz'/s" h, total 41I/8" h

Under lip "C Brancusi"; under head "Brancusi"

Constantin Brancusi 1876-1957 PROVENANCE:

the artist, Paris
Born in Hobitza, Rumania. 1887 went to Tirgu Jiu. 1895 Winston Collection, 195Z
Craiova School of Arts and Crafts, Rumania, graduated
EXHIBITIONS:
1898. 1902 diploma Bucharest School of Fine Arts. 1904
settled in Paris. 1905-07 attended Ecole des Beaux Arts, University of Michigan, 1955, no. 9, p. 10
Paris. Exhibited Salon d' Automne where he met Rodin in D.I. A., 1957-58, no. zz, p. 39, ill. p. 43
1906. 1907 abandoned realism and began to develop mature, The Toledo Museum of Art, March 6- 27, i960, What is

abstract style. 1913 five Armory Show, New York.

works in Modern Art?
192.6, 1933 one-man shows Brummer Galleries, New York. D.I. A., 197Z-73
Travels included 1926 New York; 1938 Egypt, The Nether-
REFERENCES:
Rumania; 1939 New York. 1955-56 retrospective,
lands,
Guggenheim Museum. 1956 became French citizen. Willed Degand and Arp, Aiijoiird'htii, 1957, ill. p. 30
studio to Musee National d'Art Moderne, Paris. Saarinen, Art Netvs, 1957, p. 65
Vassar Alumnae Magazine, 1958, ill. p. 11

Giedion-Welcker, Carola, Constantin Brancusi, i8y6-i<)jy,

Braziller, New York, 1959, pi. 19, p. 6^
Seuphor, Sculpture of this Century, i960, p. 358, ill. p. 60
Taylor, Collections, 1963, pp. 298-99
Geist, Sidney, "Brancusi Catalogued," Arts Magazine, vol.

38, no. 4, January 1964, pp. 70-71

Geist, Sidney, "Letters to Editor," Art Bulletin, vol. XLVII,
no. 3-4, September-December 1966, pp. 462-63
Spear, Athena Tacha, "A Contribution to Brancusi Chron-
ology," Art Bidletin, vol. XLVIII, no. i, March 1966, pp.
48-49
Geist, Sidney, Constantin Brancusi, i8y6-i^jy: A Retrospec-
tive Exhibition, The Solomon R. Guggenheim Museum, New
York, 1969, p. 128, ill.

W-127

This bronze, according to Sidney Geist, is one of two after

The Art Institute of Chicago's marble "White Negress II of
1928. Although the artist said 1926 was its date, Geist, based
on stylistic analysis and studies of Brancusi's casting
procedures, dates it 1933. Brancusi sometimes gave all

versions of one sculpture the same date, using the earliest

date to represent the conception of the idea.

74
 33. GEORGES BRAQUE
Cards and Dice. 1914?

Oil on canvas, 141/2 x 21", oval

Unsigned

PROVENANCE:
Georges Braque 1882-1963 the artist
Marius de Zayas
Born in Argenteuil, France. Began career as apprentice house Arthur B. Davies, Paris
painter. Studied Ecole des Beaux Arts, Le Havre and Paris Mrs. Morris Hillquit, New York, 1929
until 1904. 1907 exhibited as Fauve in Salon des Indepen- Jacques Seligmann & Co., New York, 1948
dants. 1908 discarded Fauve palette in favor of Cubist color Winston Collection, 1948 (through Rose Fried)

and geometry. 1909 established Cubist style with Picasso.

EXHIBITIONS:
Fought in World War I, received a head wound. By 1912
paintings returned to nature retaining only certain aspects
Pennsylvania Academy of Fine Arts, Philadelphia, April 17-

of Cubism. 1933 first important retrospective in Basel.

May 9, 1920, Exhibition of Paintings and Drawings of

Worked in isolation throughout the War, 1948 published Representative Modern Masters, no. 3, p. 5

Cahiers de Georges Braque: 2917-47. 1948 first prize Venice

Cranbrook, 195 1, no. 2
University of Michigan, 1955, no. 10, p. 10
Biennale. 1948-49 major exhibition The Museum of Mod-
D.I.A., 1957-58, no. 23, p 39, ill. p. 44
ern Art and Cleveland Museum. From late 50's until his
.

death, he continued to work in seclusion despite

The Cubist Epoch, 1970-71, no. 33, p. 278, pi. 216, p. 194
D.I.A., 1971-73
failing health.

REFERENCES:

Degand and Arp, Aujonrd'hui, 1957, ill. p. 30

Vassar Alumnae Magazine, 1958, ill. p. 11

W-2

Cooper dates the painting 1914 (The Cubist Epoch, no. 33,
p. 278), which is earlier than the frequently cited 1915-16;
the latter is certainly less likely since Braque was severely
wounded in 1915 and did not resume painting until 1917.
Since the artist had introduced a pointillist technique into
his general style by 1913-14, the earlier date is further
substantiated.

76
 34- ALEXANDER CALDER
Mobile. 1949

Painted metal, 90 x 52. x 60"

PROVENANCE:
the artist

Alexander Calder b. 1898 Winston Collection, 1949

EXHIBITIONS:
Born in Philadelphia. 1919 graduated as mechanical engineer Cranbrook, 1951, no. 87 '

from Stevens Institute of Technology in Hoboken, New D.LA., 1957-58, no. 24, p. 39. Did not travel
Jersey. 1922 began studies at Art Students' League, New
York. 1926 travelled to Paris; created circus figures, ani- REFERENCES:
mated toys and wire sculpture. 1927 first one-man exhibi- Saarinen, Art News, 1957, p. 33, ilL p. 32
tion Weyhe Gallery, New York; began to divide his time Baro, Art in America, t^96-j, ill. p. 72
between United States and France. 1930 after visit to

Mondrian's studio in Paris, turned to abstraction. First W-72

abstract sculpture christened "stabiles" by Arp; later Marcel
Duchamp called his moving sculptures "mobiles." Lives in This work was made especially for the Winston's stairwell
Roxbury, Connecticut and Sache, France. by Calder, although he never saw the location. As a con-
sequence, a great deal of correspondence took place between
the Winstons and the artist in a mutual effort to describe

and understand the problems of space which were involved

in the undertaking.

78
•
Carlo Carra 1881-1966

Born in Quargnento, Piedmont. Trained as mural decorator;

1895 to Milan. Worked on decorations for International
Exposition, Paris, 1900. 1905-09 studied at Brera Academy.
Around 1908 friendship with Boccioni; formulated Futurist
painting manifestos of 1910 with him. More drawn to
Cubism than other Milanese Futurists were. Many con-
tributions to literature of Futurism, most notably
Giierrapittura, 1915. 1916 or 17 met de Chirico; joined
with him in "metaphysical painting." Subsequent work
marked by mixture of primitivism and classicism and
rejection of dynamism of Futurist painting. 1920's association
with Novecento group of figurative painters. Died in Milan.

80
35- CARLO CARRA
The Night of January zo, 191;, I Dreamed This Picture

(Joffre's Angle of Penetration on the Marne Against Two

German Cubes) (La notte del 10 gennaio 191 j sognai questo

quadro (Angolo penetrante de ]offre sur Marne contro 2.

cubi germanici)). 1915

Collage, gouache, ink and charcoal on paper, 10 x 13'/^"

l.r. "C. Carra 914" (Inscription added later by artist)

PROVENANCE:
The New Gallery, New York
Winston Collection, i960

EXHIBITIONS:

The Museum of Modern Art, New York, October i-

November iz, 1961, The Art of Assemblage, no. 29, ill.
p. 155. Travelled to Dallas Museum of Contemporary Art,
January 9-February 11, 1962; San Francisco Museum of
March 5-Aprii 15, 1962 (hereafter cited
Art, as Museum of
Modern Art, 1961-62, The Art of Assemblage)
Guggenheim, 1963-64, Tivetitieth Century Master
Drawings, no. 19, pi. 12
D.I.A., 1972-73

REFERENCES:

Carra, Carlo, Guerrapittura, Poesia, Milan, 1915, pi. 10, p. 29

"Un Demi-siecle d'art Italien," Cahiers d'Art, 1950, vol.
XXV, no. i,ill. p. 84
Carrieri, Raffaele, Futurism, Milione, Milan, 1963, pi. 67

Taylor, Collections, 1963, p. 303

Johnson, Una E., 20^/7 Century Drawings; Part I: i>)oo-i')40,

Shorewood, New York, 1964, pi. 31, p. 63

Martin, 1968, p. 200, pi. 213.

W-39

This handsome collage, like some of the other illustrations

in Guerrapittura, conveys Carra's estrangement from
Futurism and predicts both Dada and the enigmatic and
calm imagery of his metaphysical painting of 1917 onward.
Purportedly evoking the most extreme Futurist moment of
actual war, Carra has given the thrusts and shouts of
combat a dream-like distance and paradoxical meaning. His
forms are more precise and solid, and suggest that the
dynamic dispersion of the Futurist esthetic no longer seems
to apply.

81
 36. ROBERT DELAUNAY

Still Life with Red Tablecloth (Nature morte a la nappe

rouge). 1937

Oil on canvas, 46% x 39%"

Unsigned

Robert Delaunay 1885-1941 PROVENANCE:

Sonia Delaunay, Paris
Born in Paris, igoz apprenticed to set designer Ronsin. 1904 Winston Collection, 1953
first paintings, influenced by Impressionists and Pont-Aven
EXHIBITIONS:
group: exhibited at Salon d'Atitomne and Salon des Indepen-
dents. Studied color theories of Chevreul. Friendship with Galerie Louis Carre, Paris, December 17, 194S- January 17,
Rousseau, Metzinger. 1910 married painter Sonia Terek; 1947, Robert Delaunay, i88yi')4i, no. 20
showed at first Blatie Reiter exhibition, Munich. 1910-11 Galerie J. H. Bernheim-Jeune, Paris, December 16, 1950-
met ApolHnaire and Gleizes; Cubist period. 191Z ApoUin- January 12, 1951, Rytbmes et couleurs, no. 5

aire coined term Orpbisme to describe Delaunay's personal University of Michigan, 1955, no. 12, p. 10
idiom emphasizing color, light and motion. 1911 "construc- D.I.A., 1957-5S, no. 29. p. 45, ill. p. 47
tive" period, characterized by works organized through D.LA., I972.-73
colored planes and their "simultaneous contrasts"; series of
REFERENCES:
paintings of chromatically dissected circular forms, among
best known works. Continued emphasis on color, light and Taylor, Collections, 1963, p. 303

motion in figurative works of 20's and abstract paintings of Baro, Art in America, 1967, p. 72

30's.
W-150

82
 37. THEO VAN DOESBURG
•
Still Life. 1916

Oil on canvas, 13% x 15%"

Unsigned

PROVENANCE:
Theo van Doesburg 1883-1931 Nelly van Doesburg, Meudon
The Pinacotheca Gallery, New York
Born C.E.M. Kiipper in Utrecht. 1899 began painting. 1908 Winston Collection, 1949
first shown at The Hague. 1917 founded De Stijl periodical
EXHIBITIONS:
whose contributors, Mondrian, Oud, Wils, Bart van der
Leek, Vantongerloo, formed the De Stijl movement which
Art of this Century, New York, April 29-May 31, 1947,

stressed the need for abstraction and simphflcation, produc-

Theo van Doesburg, no. 16. Travelled to San Francisco

ing compositions based on geometric figures and primary

Museum of Art, July 29-August 24, 1947

colors. After 1917 propagandized for De Stijl in Belgium,

The Pmacotheca Gallery, New York, March Z2-April 21,

France, Italy, Spain, Czechoslovakia and Germany. Lec- 1949, no. 2

Cranbrook, 1951, no. 55
tured at Bauhaus. Friendship with Schwitters led to interest
University of Michigan, 1955, no. 14, p. 10
inDada; wrote poems under pseudonym LK. Bonset. 1916
D.LA., 1957-58, no. 31, p. 45, ill. p. 17
published Manifesto of Elementarism broadening the prin-
ciples of De Stijl. The Albright-Knox Art Gallery, Buffalo, March 3-ApriI
14, 1968 Plus By Minus: Today's Half-Century, no. 30, ill.
D.LA., 1972-73

REFERENCES:

"The Winston Collection on Tour," Arts, 1958, ill. p. 35

Seuphor, Michel, Abstract Painting: Fifty Years of Accom-

plishment, from Kandinsky to the Present, Abrams, New
York, 1962, no. 67, p. 303 (hereafter cited as Seuphor,
Abstract Painting, 1962)
Baro, Art in America, 1967, ill. p. 74

W-74
 38. MAX ERNST
Sitting Buddha (Sitzender Buddha). 1920

Collage on paper, 7% x SVg"

bottom "sitzender buddha (demandez votre medecin) max

ernst / 20"

Max Ernst b. 1891 PROVENANCE:

Tristan Tzara, Paris
Born in Bruehl, near Cologne. Studied University of Bonn. Winston Collection, 1954
1919 launched Cologne Dada movement with Arp and
moved EXHIBITIONS:
Baargeld. 19Z2 to Paris; collaborated in founding of
Surrealist movement. 1935 began working in sculpture. 1941 Sidney Janis Gallery, New York, April 15-May 9, 1953,
came to New York; married Peggy Guggenheim. After 1945 Dada, no. 91
lived in Sedona, Arizona with his second wife, painter D.I.A., 1957-58, p. 59. Did not travel
Dorothea Tanning. 1952 returned to Paris. 1958 became
G-179
French citizen. 1959 major retrospective at Musee National
d'Art Moderne, Paris. Lives and works in Paris and south of
France.

S6
'
!'>iiA>i4f^ i-.-.'/v »».'Vi->-, 'w *** t'*it'/f*
39- MAX ERNST
Composition. 1924-Z6

Oil on canvas, 10V2 x 9"

l.r. "Max Ernst"

PROVENANCE:
Rose Fried Gallery, New York
Winston Collection, 1955

EXHIBITIONS:

Rose Fried Gallery, New York, October 17-November iS,

1955, 30 Works by ly Masters, no. 9

D.I.A., 1957-58, no. 38, p. 38, ill. p. 3z

REFERENCES:

"The Winston Collection on Tour," Arts, 1958, ill. p. 38

Seuphor, Abstract Painting, 1962, no. 124, p. 303, ill. p. 91

Baro, Art in America, 1967, ill. p. 72

W-138

88
40. MAX ERNST
Come into the Continents. 192.6

Pencil and crayon on paper, 16I/2 x 10"

l.r. "Max Ernst"

PROVENANCE:
Galerie Rive Gauche, Paris
Winston Collection, 1951

EXHIBITIONS:

University of Michigan, 1955, "O- iTj P- h

D.I.A., 1957-58, no. 37, p. 48. Did not travel
Indiana University, 1971, Reflection, no. 52, pp. 12, 49, ill.

p.12

G-177

This drawing is related to plates XIX and XXII of portfolio,

Histoire Naturelle, Paris, 1926 (Ellen Sharp, Reflection,
I97i,p. 12)

89
 41. PAUL FEELEY

Katadoro. 1963

Oil and enamel on canvas, 66 x 51"

On reverse "Title: Katadoro/7 Feb. '63"

PROVENANCE:
Paul Feeley 1910-1966 the artist
Betty Parsons Gallery, New York
Born in Des Moines, Iowa. 19ZZ began studying painting, Winston Collection, 19S4
Palo Alto, California. 1931 moved to New York; studied at
EXHIBITIONS:
Art Students' League; joined Mural Painters Society of
New York. Supported himself by decorating restaurants,
Betty Parsons Gallery, New York, May 13-31, 1963,
Paul Feeley
hotels and nightclubs. 1935 teacher at Cooper Union Art
School. 1939-43 teacher at Bennington College in Vermont.
Betty Parsons Gallery, New York, October 27-November 21,

m Marine Corps. 1964, Paul Feeley

1943-46 served 1946 returned to Benning-
ton where he taught until his death. 195 1 contact with
The Solomon R. Guggenheim Museum, New York, April 11-

American avant-garde art. Style developed toward abstrac-

May 16, 1968, A Memorial
Paul Feeley (i<)io-i')66):
Exhibition, ill. p. 42
tion with an emphasis on color. Simple shapes create
D.I.A., 1969, Detroit Collects, no. 59
highly equivocal relationships between figure and ground.
1955 first major exhibit in New York at Tibor de Nagy W-225
Gallery. Died in New York. 1968 Memorial Exhibition,
Guggenheim Museum, New York.

90
 42. OTTO FREUNDLICH
The Unity of Life and Death (L'Unite de la vie et de la

mort). 1936-38

Oil on canvas, 47V8 x isVz"

l.r. "F"; on reverse u.l. "18.IX / 1938"; I.e. "Otto Freundlich /

Paris / 1936-38"; r.c. "Hommage / a Madame / Camille

Otto Freundlich 1878-1943
Lefevre"; 1.1. "L'Unite / de la Vie / et / de la Mort / com-

Born in Stolp, Pomerania, Germany. 1903 studied art history, mence / mars 1936 / termine Sept 38"

Berlin and Munich. 1907-08 studied art, Berlin. 1908-09

Paris, studio at "Bateau Lavoir." 1910-13 exhibited in Paris,
PROVENANCE:
Berlin, Diisseldorf, Amsterdam. Hospital attendant in Peggy Guggenheim, Venice
Cologne during World War 1. 1914-18 worked on journal Nelly van Doesburg, Meudon
Action; member November Group under leadership of Winston Collection, 1954
Pechstein, which believed in unity of arts, architecture and
EXHIBITIONS:
city planning under socialist state. 192,4 returned to Paris.
1932 member Abstraction-Creation. Participated in numer- La Galerie Rive Droite, Paris, June 22.- July 24, 1954, Otto
ous European exhibitions. Art declared degenerate by Freundlich, 1878-1^4}

Nazis. Persecution by Nazis; died in concentration camp. University of Michigan, 1955, no. 20, p. 11
D.LA., 1957-58, no. 41, p. 48, ill. p. 49
D.I.A., 1972-73

REFERENCES:

Read, Modern Fainting, 1959, no. 105, p. 354, ill. p. 305

Seuphor, Abstract Fainting, 1962, no. 134, p. 304, ill. p. 98
Bare, Art in America, 1967, ill. p. 76
Arnason, H. H., History of Modern Art: Fainting, Scidpture,
Architecture, Abrams, New York, 1968, p. 403
Baro, The Collector in America, 1971, p. 182

W-158

91
Alberto Giacometti 1901-1966

Born in Stampa, Switzerland, son of the Neo-Impressionist

painter Augusto Giacometti. 1919 began studying sculpture
at Ecole des Arts et Metiers in Geneva. 1922 settled in Pans.

1922-25 studied with Bourdelle. Early abstract sculpture

reveals Cubist and primitive influence. 1929 joined Surrealist
group. Returned to the figure in mid 30's. 1932 first one-man
exhibition at Galerie Pierre Colle, Paris. 1955 retrospective
at Guggenheim Museum. 1965 retrospective at The Museum
of Modern Art, New York. Died in Coiro, Switzerland.

94
43. ALBERTO GIACOMETTI

The Couple; Man and Woman. 1916

Bronze, 23 Yg x 14V1 x 7"

back of base 11. r. "A. Giacometti 4/6"; 1.1. "Susse Fondeur

Paris"

Fourth of si.x casts

PROVENANCE:
the artist
Galerie Maeght, Paris
Maurice Lafaille, Paris

Pierre Matisse Gallery, New York, November 1955

Winston Collection, December 1955

EXHIBITIONS:

D.I.A., 1957-58, no. 43, p. 5Z, ill. p. 51

The Museum of Modern Art, New York, June 7-October
10, 1965, Alberto Giacometti, no. z, pp. 10, 115 (ill. of cast
from Museum of Fine Arts, Zurich, p. 33). Travelled to The
Art Institute of Chicago, November 5-December 11, 1965;

Los Angeles County Museum of Art, January 6-February

14, 1966; San Francisco Museum of Art, March lO-April
24, 1966

REFERENCES:

Lord, James, "Alberto Giacometti, sculpteur et peintre,"

L'Oeil, no. i, January 15, 1955, ill. p. 18 (no indication of

which cast). Published in English in The Selective Eye,
Random House, New York, 1955, ill. p. 94
Lippard, Lucy R., "Max Ernst and a Sculpture of Fantasy,"
Art International, vol. XI, no. 2, February 20, 1967, ill. p. 38
Arnason, H. H., History of Modern Art: Painting, Scidpttire,
Architecture, Abrams, New York, 1968, no. 627, p. 392, ill.

P-393

W-84

95
 44. ALBERT GLEIZES

The Bather (La Baignetise). 1912

Oil on canvas, 24 X 15"

1.1. "Alb Gleizes 12"

PROVENANCE:
Albert Gleizes 1881-1953 Theodore Schempp, Paris
Earl L. Stendahl, Hollywood, California

Born in Paris. Served as apprentice in his father's textile Winston Collection, 1950
design studio. 1902 exhibited pointilhst paintings at Societe
EXHIBITIONS:
Nationals des Beaux Arts. 1906-08 became involved with
Utopian SociaHsm and founded a free university and com- Societe Normande de Peinture Moderne, Rouen, opened

munity of artists and writers, L'Abbaye de Creteil. 19 11

May 6, 1912, no. 92

arrived at own Cubist idiom. 191Z collaborated with Met- Stedelijk Museum, Amsterdam, October 6-November
zinger on treatise Dit Ctibisme. 1915, 1917-18 visited New 7, 1912, Moderne Kunst Kring, no. 113
York. Paintings of 1910's reveal his search for metaphysical Cranbrook, 195 1, no. 8

University of Michigan, 1955, no. 22, p. 11

principles of reality. Mid 1930's began lyrical abstraction of
late style. Died in Avignon. D.LA., 1957-58, no. 45, p. 52, ill. p. 51
The Solomon R. Guggenheim Museum, New York, Sep-
tember 14-November 1, 1964, Albert Gleizes, iSSi-i^j^: A
Retrospective Exhibition, in collaboration with Musee
National d'Art Moderne, Paris and Museum am Ostwall,
Dortmund, no. 30, p. 29, ill. p. 44. Did not travel
D.LA., 1972-73

REFERENCES:

Degand and Arp, 1957, ill. p. 30

Vassar Alumnae Magazine, 1958, ill. p. 11
Taylor, Collections, 1963, ill. p. 303

W-174

96
 45. JULIO GONZALEZ
Woman with Broom (La Femine an balai). 1929-30

Iron, 13 X7I4 X 3I/2"

back left of base "J. Gonzalez"

Unique piece

Julio Gonzalez 1876-1942 PROVENANCE:

the artist, Paris
Born in Barcelona, son of a goldsmith. 1892 studied painting, Mario Tozzi, Paris, c. 1930-34
School of Fine Arts, Barcelona. 1900 exhibited metal work Winston Collection, 1958
at the hiternational E.xhibition of Chicago; moved to Paris,
EXHIBITIONS:
met Picasso and produced pastels and paintings. 1908 deeply
affected by the death of his brother Joan. 1917 slowly Musee National d'Art Moderne, Paris, February i -March 9,
resumed work. 1926 first forged iron sculptures. 1929-31 i^^x, Julio Gonzalez: Sculptures, no. 36, p. 12
assisted Picasso in welding iron sculptures. 1932 joined Con- Stedelijk Museum, Amsterdam, April 7-May 10, 1955, Julio

structivist group Cercle et Carre. 1937 Montserrat exhibited Gonzalez, no. 37, ill. Travelled to Palais des Beaux Arts,
at Spanish Pavillion of World's Fair, Paris. 1940 gave up Brussels, May 20-June 19, 1955; Kunsthalle, Bern, July 2-
welding because of war; concentrated on drawing and August 7, 1955; Musee des Beaux Arts, La Chaux de Fonds,
molding in plaster. Switzerland (in Bern catalogue ill. fig. 37; not in catalogue
listing)

REFERENCES:

Degand, Leon, Gonzalez, Universe Books, New York, 1959,

no. 3, text reference, ill., n.p.

Seuphor, Sculpture of this Century, i960, p. 80

W-118

98
46. JULIO GONZALEZ
The Kiss (Le Baiser). 1930

Iron, 10I/2 X 11^4 X 3"

back u.l. "J. Gonzalez / 1930"

Unique piece

PROVENANCE:
the artist, Paris
Mario Tozzi, Paris, c. 1930-34
Winston Collection, 1958

EXHIBITIONS:

Galerie de France, Paris, 1930, Julio Gonzalez Sculptures

Musee National d'Art Moderne, Paris, February i-March
9, 1952, Julio Gonzalez: Sculptures, no. 42, p. 15
Stedelijk Museum, Amsterdam, April 7-May 10, 1955, Julio

Gonzalez, no. 51, text reference, ill., n.p. Travelled to Palais

des Beaux Arts, Brussels, May 20- June 19, 1955; Kunsthalle,
Bern, July z-August 7, 1955; Musee des Beaux Arts, La
Chaux de Fonds, Switzerland (in Bern catalogue no. 27, ill.

fig- 51)

REFERENCES:

Gindertael, R. V., "Gonzalez," Cimaise, serie 3, no. 7-8,

June-July-August 1956, pp. 5, 11, ill. p. 13
Degand, Leon, Gonzalez, Universe Books, New York, 1959,
no. 4, text reference, ill., n.p.

Seuphor, Sculpture of this Century, i960, p. 361, ill. p. 274

W-117

This is among the earliest of Gonzalez' abstract sculptures,

and was executed during the time of his involvement
with Picasso.
 8

47. JUAN GRIS

Man with a Guitar (L'Homme a la giiitare). 191

Pencil on paper, 141/16 x SYia"

Unsigned

PROVENANCE:
Juan Gris 1887-1927 Jeanne Bucher, Paris
Julius Loeb, New York
Born in Madrid. 1902 School of Arts and Industry, Madrid. New York, 1947
Parke-Bernet Galleries,
1904 left Moreno Car-
school to study with Jose Maria Kleeman New York, 1947
Galleries,

bonero; did Art Nouveau book illustration. 1906 moved to Buchholz Gallery, New York
"Bateau Lavoir" in Paris near Picasso. Met Apollinaire, Max Winston Collection, 1950
Jacob, Andre Salmon. By 1911 painting in Analytic Cubist
EXHIBITrONS:
style. 1911 exhibited with Cubists at the Section d'Or. 191Z-
23 sets for Diaghilev ballets. 1923 first one-man exhibition Buchholz Gallery, New York, January i6-February 11, 1950,

Galerie Simon, Paris. 1924 delivered lecture on Cubism at jiian Gris, no. 42

the Sorbonne, On the Possibilities of Painting. Buchholz Gallery, New York, September 26- October 4,

1950, Contemporary Drawings, no. 26, ill.

Cranbrook, 1951, no. 62

University of Michigan, 1955, no. 23, p. 11
D.I.A., 1957-58, no. 46. p. 52
The Museum of Modern Art, New York, April 9-June i,

1958, ]uan Gris, ill. p. ^^. In collaboration with Minne-

apolis Institute of Arts, June 24- July 24, 1958; The San
Francisco Museum of Art, August ii-September 14, 1958;
Los Angeles County Museum of Art, September 29- October
26, 1958
D.I.A., 1962, French Draivings and Watercolors
Marlborough-Gerson Gallery, New York, November-
December 1963, Artist and Maecenas: A Tribute to Curt
Valentin, no. 147, ill. p. 80
Indiana University, 1971, Reflection, no. 60, p. 51, ill. p. 53
D.I. A., 1972-73

REFERENCE;

Julius Loeb Collection, Parke-Bernet Galleries, Inc., New

York, Sale No. 835, February 6, 1947, no. 23, ill.

G-175
 1

48. JUAN GRIS EXHIBITIONS:

Galerie Simon, Paris, March 2.0-April 15, 1913, Juan Gris

The Siphon Bottle (Le Siphon). July 1919
Kunsthaus, Zurich, April z-z6, 1933, ]uan Gris, no. 92
Oil on canvas, zi'^Vic, x 18" Buchholz Gallery, New York, January i6-February 11, 1950,
1.1. "Juan Gris/7-19" Juan Gris, no. 17, ill.

Cranbrook, 1951, no. 9, ill.

provenance: University of Michigan, 1955, no. 24, p. 11, ill.

Pierre Faure, Paris D.I.A., 1957-58, no. 47, p. 52, ill. p. 53

Leonce Rosenberg, Paris D.I. A., 1972-73

Galerie Louise Leiris, Paris

REFERENCES:
Winston Collection, 195
Degand and Arp, Aujourd'htii, 1957, ill. p. 30
Vassar Alumnae Magazine, 1958, ill. p. 11
Baro, The Collector in America, 1971, ill. p. 186

W-65

103
 49. AUGUSTE HEREIN

Composition. January 1911

Oil on canvas, iS^Yic x I3'yi6"

1.1. "herbin"; I.e. "Janvier 1921"

PROVENANCE:
Auguste Herbin 1882-1960 Leonce Rosenberg, Paris
Galerie Rive Gauche, Paris

Born in Quievy, France. 1898-1901 Ecole des Beaux Arts, Winston Collection, 1952
Lille. 1901 moved to Paris. 1905 exhibited Impressionist
EXHIBITIONS:
paintings at Salon des Independents. 1909 moved to "Bateau
University of Michigan, 1955, no. z6, p. 11, ill.
Lavoir" near Picasso, Braque and Gris. By 1913 was painting
D.I.A., 1957-58, no. 51, p. 56, ill. p. 54
in Cubist style. By 1918 had rejected the object and was
D.I.A., 197^-73
painting abstractions based on his personal pictorial lan-
guage of color and form. 193 1 co-founder with Vantongerloo REFERENCE:
of Abstraction-Creation group. 1940's invented his "plastic
Baro, Tbe Collector in America, 1971, ill. p. 18
alphabet." 1949 published his theories of color and form
L'art non-figuratif r^on-objectif; founded Salon des Realites W-161
Noiwelles where he exhibited until his death.

104
 50. VASILY KANDINSKY

Luminosity (Aufleuchten). 192.7

Oil on canvas, 20V2 x 13V2"

1.1. with monogram "VK/27"

PROVENANCE:
Vasily Kandinsky 1866-1944 Nierendorf Gallery, New York
Wmston Collection, r944

Born in Moscow. 1892 law degree University of Moscow.

EXHIBITIONS:
1896 went to Munich to become a painter. 1901 founded
Phalanx group. 1909 settled in Murnau, organized Neue Museum of Non-Objective Painting, New York, March 15-

Kiinstlervereiningiing. 19 10 wrote On the Spiritual in Art

May 15, 1945, Kandinsky Memorial Exhibition, no. trg
which he conceived of color and form as sole content of
Cranbrook, 1951, no. 15, ill.
in
University of Michigan, 1955, no. 27, p. 12, ill.
painting. 191 1 founded Blatie Reiter group with Franz Marc.
D.I. A., 1957-58, no. 52, p. 56, ill. p. 54
1917 returned to Russia; married his second wife Nina;
D.I.A., I972.-73
teacher and administrator of the arts until government hos-
tility forced him to leave. 1912 accepted post at Weimar REFERENCE:
Bauhaus; 1926 Dessau Bauhaus; 1933 settled in Paris after
Goldwater, Robert, Space and Dream, M. Knoedler Sc Co.,
Nazis closed Bauhaus. Developed non-objective style in
New York, 1967, ill. p. 53 (hereafter cited as Goldwater,
Munich. During Bauhaus period utilized geometric forms.
Space and Dream, 1967)
In Paris years incorporated biomorphic forms of Miro and
Arp in his work. W-75

51. VASILY KANDINSKY

De Profundis. 1932

Watercolor on paper, iS'^ x iziyij"

1.1. with monogram "VK/32"

PROVENANCE:
The Pinacotheca Gallery, New York
Winston Collection, 1948

EXHIBITIONS:

Cranbrook, 1951, no. 13

D.I.A., 1957-58, no. 54, p. 56. Did not travel
D.I. A., 1972-73

REFERENCE:
Kandinsky, Vasily, Aits der Tiefe, Paris, 1932, sketch no. 473.

Unpublished notebook

W-59

106
 ^
m

5a
Paul Klee 1879-1940

Born in Miinchenbuchsee, near Bern, of a musical family.

1898 art school in Munich. 1906 married and settled in
Munich. 1912 exhibited in second Blaiie Reiter exhibition;
visited Delaunay's studio in Paris. 1914 travelled to Tunis
and Kairouan, influenced by Mediterranean light and color.

19ZO began teaching at Weimar Bauhaus. 192.4 founded

Blue Four with Kandinsky, Feininger and Jawlensky. 1925
publication of Pedagogical Sketchbook. 1926 moved to

Dessau. 1928 travelled to Egypt. 1929 one-man exhibition

Flechtheim Gallery, Berlin, which travelled to The Museum
of Modern Art, New York, 1930. 193 1 left Bauhaus to
teach at Academy in Diisseldorf for two years. 1935 became
ill. Died in Muralto-Locarno, Switzerland.

108
52. PAUL KLEE EXHIBITIONS:

Cranbrook, 1951, no. :6, ill.

Forged Still Life. c. 1926
University of Michigan, 1955, no. 29
Watercolor on paper, 15 '/s x 17" D.I.A., 1957-58, no. 55,p. 56

D.I.A., 1971-73
u.r. "Klee"

W-135
PROVENANCE:
Karl Nierendorf, New York
Winston Collection, 1944

109
53- PAUL KLEE

What Remains (Was Blieb). 1937

"
Gouache with charcoal on paper, 9 % x 1
3
14

u.r. "Klee"; I.e. "1937 p. 18 was blieb"

PROVENANCE:
the artist
JurgSpiller, Basel
Little Gallery, Birmingham, Michigan, c. 1955
Winston Collection, i960

EXHIBITION:

Indiana University, 1971, Reflection, no. 8i, p. 59, ill. p. 64

G-131

Crr
*<ftr.

'I V

5-

-SA'T (-

-1—y- tfe^

.;>,^ / n
54- PAUL KLEE

Signs in Blue. c. 1938

Watercolor on tinted cloth, iz^Yk, x io%"

u.l. "Klee"

PROVENANCE:
Nierendorf Gallery, New York
Winston Collection, 1947

EXHIBITIONS:

Cranbrook, 1951, no. 17

University of Michigan, 1955, no. 30, p. 12, ill.

D.I.A., 1957-58, no. 56, p. 56, ill. p. 55

D.I.A., 1972-73

W-3

i -4

^.^JiJOB,-
 55. GASTON LACHAISE
(a) Woman Arranging Hair. c. 1910-12

Bronze, 10 V2 x 5 x 3'X"

base l.r. "Lachaise"; bottom "18"

(b) Woman- Arms Akimbo, c. 1910-12

Bronze, 11x5x5"
Gaston Lachaise 1882-1935
base l.r. "G. Lachaise"; bottom "12"

Born in Paris. 1895 entered Ecole Bernard Palissy, Paris.

provenance:
1S95-1904 Academie Nationale des Beaux Arts. 1906 to
Boston, worked for sculptor Henry Hudson Kitson assisting Weyhe Gallery, New York
him on military monuments. 1912 to New York, worked Winston Collection, 195S

independently on small human figures which became basis

EXHIBITIONS:
for subsequent monumental sculpture. 1913 became Paul
Weyhe Gallery, New York, December 22, 1955-January 28,
Manship's assistant. 1918 first one-man exhibition Stephen
1956, Drawings a>id Sculpture, Lachaise
Bourgeois Gallery, New York. Met Robert Henri, John
D.I. A., 1957-58, no. 57, p. 57. Did not travel
Sloan, others. Influence of Nadelman, Hindu sculpture on his
Los Angeles County Museum of Art, December 3, 1963-
work. 19Z7 one-man exhibition at Steiglitz' Intimate Gallery,
January 19, 1964, Gaston Lachaise 1SS2-195J, Sculpture
New York. Numerous commissions during career, executed
attd Drawitigs, no. 6 and 7, ill. Travelled to Whitney
portrait busts, massive nudes and series of sections of female
nudes.
Museum of American Art, New York, February i8-April
5,1964
J. B. Speed Art Museum, Louisville, October i6-November

28, 1965, The Figure in Sculpture, no. 8

Fine Arts Gallery, University of Wisconsin, Milwaukee,

September 29- October 22, 1970, Gaston Lachaise Sculpture
Exhibition

REFERENCES:

B.C. "A Season for Sculpture," Arts, vol. 30, no. 4, January

1956, ill. p. 22 (Woman Arranging Hair only)

T[yler], P[arker], "Reviews and Previews," Art News, vol. 54

no. 9, January 1956, ill. p. 50 [Woman Arranging Hair only)

Danieli, Fidel A., "Art Forms," Daily Brush, University of
California, Los Angeles, December 11, 1963
The VWhA Post, University of Wisconsin, Milwaukee,
September 25, 1970, ill. p. 6

W-123, 122
 56. ROGER DE LA FRESNAYE
Study for "The 14th of July" (Etude pour "Le Quatorze

juillet"). 1913

Watercolor on paper, 16% x 23"

l.r. "R de la Fresnaye/1913"

Roger de La Fresnaye 1885-1925 PROVENANCE:

Galerie de Berri, Paris
Born in Le Mans, France. 1903 entered Academie Julian, Galerie Percier, Paris
'

Paris; 1904 and 1906-08 Ecole des Beaux Arts, Paris; 1908 Winston Collection, 1951
studied with Denis and Serusier. 1910 exhibited at Salon des
Independants and Salon d'Aiitomne. 1911 growing interest EXHIBITIONS:

in Cubism; association with Puteaux Group which formed Galerie de Berri, Paris, 194S and 1949, no. 41
Section d'Or. Participated in Section d'Or exhibitions, 1911, Musee National d'Art Moderne, Paris, 1950, no. loi, p. 33

1912.. 1914 first one-man exhibition Galerie Levesque, Paris. Cranbrook, 195 1, no. Z3
1914 enlisted; 1918 discharged for ill health which continued Albion College, 1956, no. 16
until his death. 1910 abandoned Cubism for return to D.I.A., i957-5S,no. 58, p. 57

classical, realistic style. Albright- Knox Art Gallery, Buffalo, September iS- October
12, 19S7, The Painters of The Section d'Or, no. 18, pp. 28, 31,
ill. p. 31

Indiana University, 1971, Reflection, no. 83, p. 60, ill. p. 65

D.I.A., I972--73

REFERENCE:
Seligmann, Germain, Roger de La Fresnaye: ti'ith a catalogue
raisonne. New York Graphic Society, Greenwich, 1969,
no. 142, p. 158, ill. (hereafter cited as Seligmann, de La
Fresnaye, 1969)

W-57

114
k
 1

57- ROGER DE LA FRESNAYE

Composition with a Trumpet (Le Clairon et le tambour).

January 1918

Ink and wash on paper, 12.14 x 9%"

l.r. "R de la Fresnaye/Janv 18"

PROVENANCE:
Van der Klip, Paris
Galerie Percier, Paris t

Winston Collection, 195

EXHIBITIONS:

Cranbrook, 195 1, no. 24

University of Michigan, 1955, no. 31, p. 12
D.I.A., 1957-58, no. 59, p. 57, ill. p. 55
D.I.A., 1962, French Drawings and Watercolors
D.I.A., 1972-73, ill. cover checklist

REFERENCE:

Seligmann, de La Fresnaye, 1969, no. 265, ill. p. 189

G-163

116
 1

58. HENRI LAURENS

Man with a Moustache. 1919?

Stone, 17 X 5% X 6"

I.r. front neck "H.L."

PROVENANCE:
Henri Laurens 1881-1954 Leonce Rosenberg, Paris
Yves le Delion, Paris, 195

Born in Paris. Self-taught. Early influence of Rodin. 1904-10 Jacques Ullman, Paris, 1951
studio in "Bateau Lavoir." 191 1 formed life-long friendship Galerie Rive Gauche, Paris

with Braque. 1913 exhibited at Salon des Independants. Winston Collection, 1954
1915 began Cubist still-life constructions influenced by
EXHIBITIONS:
Picasso. 1915-18 papiers colles. 1918 began direct carving in

stone and plaster modeling. Utilized technique of faceting University of Michigan, 1955, no. 32, p. 12, ill.

D.I. A., 1957-58, no. 60, p. 57, ill p. 58

and hollowing out, derived from Analytic Cubist painting
style. more conventional treatment of wood and
After 1920 The Cubist Epoch, 1971, no. 159, pp. 258, 293, pi. 324, p. 260
D.I.A., 197^-73
stone. Around 1925 style, though still grounded in Cubism,
became more organic. Exhibited at World's Fair, Paris, 1937.
REFERENCES:
Female nudes his constant theme. Attenuated forms typical
de Solier, Rene, "Uno Scultore tra due mondi: Henri
of work of 30's; massive, organic volumes mark sculpture
Laurens," La Bieniiale di Venezia, October 1950, p. 14
of 40's. Sao Paulo Bienal 1953, awarded sculpture prize.
Saarinen, Art News, 1957, p. 64
Taylor, Collections, 1963, p. 292
Baro, Art in America, 1967, p. 75

W-137

Although this piece has traditionally been dated 1917,

Cooper dates it 1919 {Cubist Epoch, p. 258), as Laurens'
earliest direct carving was done in 1918.

118
 5

59- FERNAND LEGER

Woman in Armchair (La Femme au fauteuil). c. 1912-13

Oil on canvas, 51I4 x 3814"

Unsigned

PROVENANCE:
Fernand Leger 1 881-195 Daniel-Henry Kahnweiler, Paris
Alphonse Kann, Paris
Born in Argentan, France. 1897-99 studied architecture in Mary Gallery, New York
Caen. 1900 arrived in Paris. 1903 Ecole des Arts Decoratifs, Earl L. Stendahl, Hollywood, California, c. 1945
Academic Julian. 1910-11 participated in formation of Winston Collection, 1950
Section d'Or group. 1912 first one-man exhibition
EXHIBITIONS:
Kahnweiler Gallery. 1912-14 reduction of form to cubic
volumes and primary colors. World War I increased his
Cranbrook, 1951, no. 16, ill.

awareness of machines; 1917 began Mechanical Period. 1910 The Art Institute of Chicago, April 12-May 17, 1953,

met Le Corbusier with whom he worked and traveled. 1914

Leger, no. 8, p. 84, ill. p. 18. In collaboration with The

collaborated on Ballet Mecanique. 30's and 40's painting

San Francisco Museum of Art, June iz-August 30, 1953 and

became flatter with undulating rhythms. 1940-45 in the The Museum of Modern Art, New York, October 20,

United States where he taught at Yale University and Mills 1953- January 19543,

University of Michigan, 1955, p. 12, no. 33

College, Oakland, California. Returned to France after
D.I.A., 1957-58, no. 61, p. 57, ill. p. 59
the War. 1949 retrospective Musee National d'Art Moderne,
D.I.A., 1972-73
Paris.

REFERENCES:

Teriade, E., Fernand Leger, Cahiers d'Art, Paris, 1928, ill.

p. 16
Vassar Alumnae Magazine, 1958, ill. p. iz
Delevay, Robert L., Leger, Skira, Paris, 1962, p. 48, ill. p. 46
Parker, Clifford S. and Paul L. Grigaut, Initiation ci la cul-

ture franfaise, ^.^6^, second edition, p. xiii, pi. opp. p. 191

Taylor, Collections, 1963, p. 292, ill. opp. p. 302
Baro, Art in America. 's.^6-j, p. 72
Meisel, The Connoiseur, 1968, ill. p. 259

W-7S
6o. FERNAND LEGER
Still Life. 1921

Pencil on paper, 15 x 10"

l.r. "F. L/zi"

PROVENANCE:
Curt Valentin Gallery, New York
Winston Collection, 195Z

EXHIBITIONS:

University of Michigan, 1955, no. 34, p. 13

D.I. A., 1957-58, no. 6z, p. 57, ill. p. 60
D.I.A., 196Z, French Drawings and Watercolors
Indiana University, Reflection, 1971, no. 85, p. 60, ill. p. 66
D.I.A., I972.-73

REFERENCE:
Baro, Art in America, t-96j, ill. p. 74

G-162.
 61. EL LISSITZKY

Proitn No. 95. c. 1910-13

Oil, collage and gouache on paper, 23 Vs x i9Vi6"

On reverse u.c. "Proun / #95"

PROVENANCE:

El (Eleazer) Lissitzky 1 890-1941 Katherine S. Dreier, West Redding, Connecticut

The Pinacotheca Gallery, New York
Winston Collection, 1949
Born Polshinok, Smolensk, Russia. 1909-14 studied at

Darmstadt, school of engineering and architecture. 1914 EXHIBITIONS:

went Moscow. 1916 showed at Knave of Diamonds
to
Brooklyn Museum, New York, November 19, I9z6-January
exhibition, Moscow. 1919 professor at Vitebsk School of
I, 1917, International Exhibition of Modern Art, assembled
Art. Met Malevich; painted first Pronn, his name for non-
by the Societe Anonyme, no. 199
objective paintings. 1912 installed Proun room according to
The Pinacotheca Gallery, New York, October 6-31, 1949,
Constructivist principles at Grosser Berliner Ktinstatts-
El Lissitzky, no. 1
tellitng, Russian exhibition in Berlin. Contact with Bauhaus
Cranbrook, 1951, no. 18
group. 1925 returned to Moscow. 1918 married Sophie
Rose Fried Gallery, New York, January i6-February 23,
Kijpers. 193 1 appointed permanent chief designer of the
1952, Coincidences, no. 10
Permanent Building E.xhibition, Moscow. Designed many
University of Michigan, 1955, no. 36, p. 13
exhibition rooms before and after this appointment.
Contemporary Arts Museum, Houston, February 27-March
14, 1957, The Sphere of Mondrian, n. p.

D.I. A., 1957-58, no. 63, p. 60, ill. p. 31

Albright-Knox Art Gallery, Buffalo, March 3-April 14,
1968, Plus By Minus: Today's Half -Century, no. 82
D.I. A., 1972-73

REFERENCES;

M. G., Art News, vol. 48, no. 7, November 1949, p. 51

American Abstract Artists, ed.. The World of Abstract Art,
1956, ill. p. 89
Degand and Arp, Aujoiird'hin, 1957, ill. p. 30
"The Winston Collection on Tour," Arts, 1958, ill. p. 36
Seuphor, Abstract Painting, 1962, no. 88, p. 308, ill. p. 74

W-81

124
 MORRIS LOUIS
Quo Niimine Lasso. 1959

Mixed media on cotton duck, 103 x 77"

1.1. "Louis '59"

PROVENANCE:
Morris Louis 1912-196Z Galerie Lawrence, Paris
Winston Collection, 1964
/
Born Morris Bernstein in Baltimore. 1929-33 studied at
EXHIBITIONS:
Maryland Institute, Baltimore. Lived in Baltimore until
1949. 1951-56 taught at Workshop Center for the Arts, Institute of Contemporary Arts, London, Spring i960,
Washington, D.C. Style influenced by Helen Frankenthaler's Morris Louis
"stain" painting, Moitntains and Sea, 1952.. "Veil" paintings Galerie Neufville, Paris, March 17-April 12, 1961, Morris

of 1954 and 58-59 are important examples of his personal Louis

idiom. Lived in Washington, D.C. until death. Galerie Alfred Schmela, Diisseldorf, April 27-May 24, 1962,
Morris Louis
Galerie Lawrence, Paris, November 9-December 3, 1963,
Morris Louis
D.I.A., 1969, Detroit Collects, no. <)^

REFERENCE:

Baro, Art in America, 1967, ill. p. 72

W-221

The title for this veil painting was chosen by Clement Green-
berg, taken from the first book of Virgil's Aeneid — "What
."
Diety Offended . .

126
 63. MORRIS LOUIS

Late Flowering. 196Z

Acrylic resin on unsized duck, 86 x 3iVi"

On reverse u.c. "Louis 1962"

PROVENANCE:
the artist
Galerie Lawrence, Paris, 196Z
Winston Collection, 1964

EXHIBITION:

Galerie Lawrence, Paris, November 9-December 3, 1962,

Morris Louis

W-222

r28
 64. STANTON MACDONALD-WRIGHT
Conception Synchromy; Cotiception; Arm Organization

1916-17?

Oil on canvas mounted on cardboard, 29% x 11V&"

1.1. "S.M.W."

Stanton MacDonald-Wright 1890-1973 PROVENANCE:

the artist, Paris
Born Charlottesville, Virginia. 1904-05 studied at Art Winston Collection, 1956 '

Students' League, Los Angeles. 1907 to Paris to study art.

EXHIBITIONS:
Met Morgan Russell c. 1910. Studied color with Tudor-Hart,
read color theories of Chevreul. Devised Synchromy, which La Galerie Arnaud, Paris, April 12.-25, i95<5> MacDonald-
emphasized color in reaction to monochromatic Cubism. Wright, no. 19 (ill. on catalogue cover is for larger painting

First Synchromist exhibition Neiie Kiinst Salon, Munich, formerly in the Earl L. Stendahl Collection, Hollywood,
1913. 1916-18 lived in New York, e.xhibited at Steiglitz' zi)!. California)

1919 produced first full-length stop motion color film. D.I. A., 1957-58, no. 64, p. 60, ill. p. 61
Developed color process for movies. 1920 interest in Oriental D.I. A., 19S2, American Drawings and Watercolors, no. 178,
philosophies; 19Z4 returned to representation under p. II
influence of Chinese painting. Active as teacher and writer. The Corcoran Gallery of Art, Washington, D.C., April 26-
From 1954 both non-objective and figurative work. Repeated June 2, 1963, The Neiu Tradition — Modern Americans

visits to Orient. Lived in California and Tokyo. before 1940, no. 67, p. 62, ill. p. 25

The Baltimore Museum of Art, October 6-November 15,

1964, 1914.- An Exhibition of Faintiitgs, Dratcings, and

Sculpture, no. 136, p. 89
M. Knoedler & Co., Inc. New York, October 12-November
6, 1965, Synchromism and Color Principles in American
Painting: 1910-1930, no. 34, pp. 27, 51
The Solomon R. Guggenheim Museum, New York, June
23 -October 23, 1966, Gauguin and the Decorative Style
National Collection of Fine Arts, Smithsonian Institution,
Washington, D.C., May 4-June 18, 1967, The Art of
Stanton MacDonald-Wright, no. 5, p. 27
The U.C.L.A. Art Galleries, Los Angeles, November 16-
December 20, 1970, Stanton MacDonald-Wright A Retro- :

spective Exhibition, i<)ii-i<)jo, no. 6, ill.

D.I.A., 1972-73

REFERENCES:

Seuphor, Michel, V Art abstrait: ses origines, ses premiers

maitres, Paris, 1950, ill. p. 155 (ill. of Stendahl painting)
Seuphor, Michel, Dictionnaire de la peintiire abstraite,

Hazan, Paris, 1957, p. 20 (Translated into English by Lionel

Izod, John Montague and Frances Scarfe, Dictionary of
Abstract Painting, Paris Book Center, New York)
"A Splendor of Springtime Shows," Time, vol. LXXXI, no.

19, May 10, 1963, ill. p. 62

Seuphor, Michel, L'Art abstrait: vol. i: i<)io-i^iS, origines

et premiers maitres. Maeght, Paris, 1971, no. 51, p. 216, ill.

p. 115 (ill. for Stendahl painting) (hereafter cited as

Seuphor, L'Art abstrait, 1971)

W-94

130
Although this painting has often been dated c. 1914, the
1916-17 date attributed to it by William Agee seems more
probable. (Agee, Knoedler catalogue, 1965, p. 51) It is a
smaller version of the very similar 1916 painting formerly
in the collection of Earl L. Stendahl, Hollywood, California,
(current whereabouts unknown); that fact alone increases
the likelihood of the accuracy of the later date.

131
 65. ANDRE MASSON
Nude under Fig Tree. 1944

Charcoal and ink on paper, 2.3^yi6 x 18"

Signed 1.1. "Andre Masson"

PROVENANCE:
Andre Masson b. 1896 Buchholz Gallery, New York
Winston Collection, 1946
Born in Balagny, France. Studied art at Academie Royale
EXHIBITIONS:
des Beaux Arts, Brussels; 191Z at Ecole des Beaux Arts,
Paris under Baudouin. 1917 wounded in World War I
D.I.A., 1947, A Loan Exhibition of French Fainting,

severely, psychologically as well as physically. Paintings of

XVIl-XX Centuries, p. 6

early 20's influenced by Cubism. Among the first Surrealists.

Cranbrook, 195 1, no. 69
University of Michigan, 1955, no. 41, p. 13, ill.
1915 regularly contributed automatic drawings to La
Revolution Surrealiste. 1934-36 lived in Spain. Late 30's D.I. A., 1957-58, no. 67, p. 61, ill. p. 62

turned to figurative Surrealism influenced by Picasso. D.I. A., 1962, French Drawings and Watercolors
Indiana University, 1971, Reflection, no. 98, pp. 18, 65,
1941-45 to United States; this period marked by automatist, ill.

expressionist approach. Returned to France 1945, painted in p. 17

more Throughout career created

expressionist manner.
REFERENCE:
many American Abstract
scenic designs. Important in linking
Reynolds, Graham, Twentieth Century Draivings, London,
Expressionism and European Surrealism.
1946, no. 63, ill.

G-165

13Z
Henri Matisse 1869-1954

Born at Le Cateau, France. Studied law 1887-S8. 1891 studied

at Academic Julian, Paris, under Bouguereau and Ferrier;

1893 at Ecole des Beaux Arts, Paris, under Moreau. 1893

visited Provence and came under influence of Cezanne. 1899
worked at atelier of Carriere; began experiments in sculp-

ture. Although primarily a painter, continued to sculpt

throughout his career, influential as a sculptor. 1904 after

brief Pointillist period turned to use of pure, flat color. 1905,

with Detain, Marquet, Vlaminck and others, formed Faiwe

group, notable for use of brilliant, arbitrary color and direct
brushwork. 1911-13 visits to Morocco: oriental color in-
fluence, exotic landscapes. 1913 influence of Cubism. 1917
settled in Nice. Early igzo's period of Odalisques marked
by use of sensuous color and pattern; strong three-
dimensionality in 1920's. 1930 travelled in Europe, Russia,
Oceania, United States where he painted murals for Dr.
Barnes. 1930's characterized by linearism. 1936 retrospec-
tives, Paris, New York, Stockholm. 1939 settled in Vence,
produced many collages. 1949 began decoration of Domini-
can Chapel, Vence. 1950's numerous compositions of
colored, cut paper.

134
66. HENRI MATISSE EXHIBITIONS:

Pierre Matisse Gallery, New York, Summer 1939, Summer

The Velvet Gown (Kobe de velours). 1936
Exhibition French Modern
Ink on paper, 14V2 x 19%" Cranbrook, 1951, no. 70
1.1. "Henri-Matisse 36" University of Michigan, 1955, no. 41, p. 13, ill.
D.I.A., 1957-58, no. 68, p. 61. Did not travel
PROVENANCE: Indiana University, 1971, Reflection, no. 100, p. 66, ill. p. 70
the artist, Paris
G-174
Pierre Matisse Gallery, New York, c. 1537
Winston Collection, 1948

135
 67. JEAN METZINGER
Still Life ivith Pears. 1912-1917

Oil on canvas, 45% x 32"

l.r. "J. Metzinger"

PROVENANCE:
the artist
Jean Metzinger 1883-1956
Leonce Rosenberg, Paris
Galerie La Gentilhommiere, Paris
Born in Nantes. 1898 began to paint; settled in Paris;
Winston Collection, 1953
attended many academies but was dissatisfied with all of
them. 1903-08 work influenced first by Neo-Impressionists, EXHIBITIONS:
then Fauves. 1909 exhibited at Salon des hidependants and University of Michigan, 1955, no. 43, ill. p. 14
with the Section d'Or. 1911 published Dtt Citbisme with D.I. A., 1957-58, no. 6<), p. 60, ill. p. 63
Albert Gleizes, first theoretical work on the movement.
Continued to work in the Cubist idiom until his death. W-151

136
 68. JOAN MIRO
Personage; The Brothers Fratellini. 1927

Oil on canvas, 5114 x 38"

I.e. "Mir6/i927"

PROVENANCE:
Joan Miro b. 1893 the artist, Paris
Pierre Loeb, Paris

Born in Barcelona. 1907-15 intermittent attendance at var- Pierre Chadourne, Paris '

ious art schools. 1918 firstone-man exhibition, Barcelona. Theodore Schemmp & Co., New York
1920 moved summered at parents' farm in Montroig,
to Paris, Winston Collection, 1952
Spain. 1920 first participation in Dada activities. Joined Sur-
EXHIBITIONS:
realist group 1924. 1925 major one-man exhibition Galerie
University of Michigan, 1955, no. 45, p. 14
Pierre, Paris. Use of imaginary and dream imagery encour-

aged by friendship with Arp and Masson and acquaintance D.I. A., 1957-58, no. 73, p. 64, ill. opposite title page

with Klee's work. Around 1940 more rhythmically patterned The Museum of Modern Art, New York, March i8-May 10,

compositions appeared; 1950's and 6o's a gestural idiom of 1959, Joan Miro, p. 51, ill. Did not travel
D.I.A., 197^-73
expressive calligraphy developed; 1950's more concentrated
work in ceramics and sculpture. Resides in Palma de Mal-
REFERENCES:
lorca.
Saarinen, Art Neivs, 1957, ill. on cover and p. 5

Rubin, William, "Miro in Retrospect," Art International,

vol. Ill, nos. 5-6, 1959, ill. p. 37
Dupin, Jacques, Joan Miro, Life and Work, Abrams, New
York, 1962, no. 190, pp. 166, 168, ill. p. 516
Rubin, William, "Arshile Gorky, Surrealism, and the New
American Painting," Art International, vol. VII, no. 3, Feb-

ruary 1963, ill. p. 36. (reprinted in Neiv York Painting and

Sculpture: i^40-j$yo, Dutton, New York, 1969, in associa-
tion with The Metropolitan Museum of Art, ill. p. 399)

Taylor, Collections, 1963, ill. p. 303

Baro, Art in America, 1967, ill. p. 72
Miesel, The Connoisseur, 1968, p. 262

W-80

According to Dupin, this canvas and a very similar one of

the same year, Three Personages (or The Fratellini) in the

Gallatin Collection of the Philadelphia Museum of Art, are

"good examples of Miro's most subjective vein of humor."
(p. 166) He also explains that Miro gave precise titles to only

a few of his paintings, preferring to designate them merely as

Peintiire or Painting. Apparently neither of these two works

were given the Fratellini title by the artist. Undoubtedly it

was someone in Miro's circle at the time— possibly one of

the Surrealist poets like Robert Desnos or Paul Eluard — who
gave the painting this title. FrateUini refers to the family of
circus acrobats and clowns who were very popular in Paris
at that time; the title seems appropriate in terms of several
other works he made that year which evolved around a
circus theme.

138
7
/

^
 69. PIET MONDRIAN
Composition in Black and White with Blue Square. 1935

Oil on canvas, zS x 27%"

I.e. "PM 35"

PROVENANCE:
Piet Mondrian 1872-1944 the artist
George L. K. Morris, Paris, 1936

Born in Amersfoort, The Netherlands. 1892-97 studied at The Pinacotheca Gallery, New York, 1947
Amsterdam Academy of Fine Arts. 1911 saw Cubist works Winston Collection, July 1947
by Braque and Picasso. 1912 moved to Paris. By 19 13 style
EXHIBITIONS:
had developed beyond Cubism to a more radical abstraction.
Detained in The Netherlands during World War I. 1917
Museum of Living Art, New York University, 1937, Piet

arrived at mature style of vertical and horizontal dissecting Mondrian

lines and flat color planes. 1919 contributed essays to first
Mortimer Brandt Gallery, New York, 1942, American
Abstract Artists Exhibition
issue of De Stijl periodical; 1918 signed De Stijl manifesto.
1919 returned to Paris. 1930 exhibited with Cercle et Carre.
The Museum of Modern Art, New York, March 21-May 13

World War 1945, Piet Mojidrian

193 1 joined Abstraction-Creation group. 1938 II

forced him to London. 1940 moved to New York. Influenced

Cranbrook, 1951, no. 36, ill.
University of Michigan, 1955, no. 48, p. 14
by the vitality of New York and began to develop more
dynamic, less classical style.
D.I. A., 1957-58, no. 76, p. 64, ill. p. 66
D.I. A., 1969, Detroit Collects, no. 121

D.I. A., 1972-73

REFERENCES:

Seuphor, Michel, Piet Mondrian: Life and Work, Abrams,

New York, 195S, no. 538, p. 37, ill. p. 69
Neumayer, Alfred, Die Kiinst in imserer Zeit: Versuch einer
Deittting, Henry Goverts, Stuttgart, 1961, no. 16, p. 119, p.

174. (Published in English as The Search for Meaning in

Modern Art, 1964, ill. p. 93, pi. xxiv)

Seuphor, Abstract Painting, 1962, no. 150, p. 310, ill. p. no

Busignani, Alberto, Mondrian, Arts et Metiers Graphiques,
Paris, 1968, p. 37, ill. p. 69
Elgar, Frank, Piet Mondrian, Praeger, New York, 1968, no.
150, ill. p. 161
Hakanson, Joy, " 'Detroit Collects' — but not from Mich-
igan," The Detroit News, May 25, 1969, ill. p. z-E
Tomassoni, Mondrian, 1970, no. 39, ill.
Italo,

Akane, Kazuo, Piet Mondrian — Life and Art, 1971, no. 78,
ill. (in Japanese)

W-71

140
 70. HENRY MOORE
Abstract Sculpture. 1937

Hoptonwood 19% x 17I4 x

stone, 13M"
Unsigned

Unique piece

Henry Moore b. 1898 PROVENANCE:

the artist
Born in Casdeford, Yorkshire, England. 1919-21 scholarship Curt Valentin, New York
Leeds School of Art and Royal College of Art, London, Martha Jackson Gallery, New York, 1955
where he taught until 193 1. Impressed by Egyptian, Etruscan, M. Knoedler & Co., New York, August 1959
Mexican and African sculpture at British Museum. 19Z4 Winston Collection, October 1959
first reclining figure. 1930 sculpture becomes more abstract
EXHIBITION:
and organic. 1936 founding member of English Surrealist
Group; exhibited International Surrealist Exhibition, Lon- Museum Boymans van-Beuningen, Rotterdam, May 30-
don. 19Z8 first one-man exhibition. 1943 first one-man July 12, 1953, Henry Moore, no. 12, ill.

exhibition in New York. 1948 International Sculpture Prize,

REFERENCES:
Venice Biennale. 1957 reclining figure for UNESCO Head-
quarters, Paris. 1963-64 two-piece reclining figure, Lincoln Sweeney, James Johnson, Henry Moore, The Museum of

Center, New York. Modern Art, New York, 1946, ill. p. 45

Read, Herbert, ed., Henry Moore Sculpture and Drawings,

1949, 3rd revised and enlarged edition,
pi. 54

Giedion-Welcker, Carola, Contemporary Sculpture, 1955,

ill. pp. 130, 131; revised edition, i960, ill. pp. 144, 145
Sylvester, Robert, ed., Henry Moore Sculpture and Drawings,
1957, 4th edition, no. 179, p. 11, ill. p. 106
Taylor, Collections, 1963, ill. p. 298
Read, Herbert, Henry Moore, A Study of His Life and Work,
Praeger, New York, 1966, no. 92, p. 114, ill. p. 114

W-54

142
 71. KENNETH NOLAND
Baba Yagga. 1964.
Acrylic resin on unsized canvas, 64 x 66Vi"
On reverse, vertically "Baba Yagga/1564/Kenneth Noland"

PROVENANCE:
Kenneth Noland b. 1924 the artist
Andre Emmerich Gallery, New York
Born in Ashville, North Carolina. 1946-48 studied with Ilya Winston Collection, 1964
Bolotowsky at Black Mountain College. 1948-49 studied
EXHIBITION:
vi'ith Zadkine in Paris. Taught at Institute of Contemporary
Art,Washington, D.C. and Catholic University. 1953 went to
Andre Emmerich Gallery, New York, November 10-28,
1964, Kenenth Noland
Helen Frankenthaler's studio with Morris Louis where he
was introduced to the "stain" technique. 1957-58 first one- W-223
man show at Tibor de Nagy Gallery, New York. Stylistic

development from "pin wheels" to "bulls eyes" to elliptical

Clement Greenberg explamed to Lydia Winston Malbin in a
"tiger's eyes": 1962 began chevrons, then diamonds and fi-
letter dated July 20, 1964, that the title means in Serbian
nally horizontal bands of color. Fall 1967 taught at Benning-
"benign sorceress" or a "good witch."
ton College, Vermont. Lives and works in New York City.

144
 72. EDUARDO PAOLOZZI
Head. 1957

Bronze, 381/2x161/2"

Back, base "Paolozzi"

Unique piece

Eduardo Paolozzi b. 1924 PROVENANCE:

Betty Parsons Gallery, New York
Born in Edinburgh, Scotland. 1943 studied at Edinburgh Winston Collection, 1961
College of Art; 1944 Slade School of Art, London. 1947 first
EXHIBITIONS:
one-man exhibition at Mayer Gallery, London. 1947-50
worked in Paris. Exhibited work at Galerie Maeght with Hanover Gallery, London, November ii-December 31, 1958,
group Les mains ebloiiie. Dada and Surrealism.
Influenced by Paolozzi Sculpture, no. 4, ill. p. 6
Sculptures present anguished images of modern man, using Palazzo Grassi, Venice, 1959-60, Vitalita iiell'arte

cast-off objects assembled within a human framework. 1950 Betty Parsons Gallery, New York, March 14-April 1, i960,
began work in graphics. 1950-54 worked on several architec- Paolozzi, no. 4
tural projects. 1955-58 taught at St. Martin's School of Art,
REFERENCES:
London. Work after 1961 composed of simply structured
monumental components, assembled with technological Alloway, Lawrence, "London Chronicle," Art hiternational,
precision. vol. II, no. 9-10, 1958-59, ill. p. 58
Taylor, Collections, 1963, p. 303
Read, Modern Sculpture, 1964, no. 269, p. 234
Kuh, Katherine, Break-Up: The Core of Modern Art, New
York Graphic Society, Greenwich, 1965, no. 90, p. 136,
ill. p. 128
Kirkpatrick, Diane, Eduardo Paolozzi, New York Graphic
Society, Greenwich, 1971, no. 25, p. 136, ill. p. 36

W- 44

146
 '

"TSl
 r

73. ANTOINE PEVSNER

Square Relief. 19ZZ

Painted plastic on cardboard, 21 x 20%"

l.r. "Pevsner"

PROVENANCE:
Antoine Pevsner 1886-1962 Rose Fried Gallery, New York
Winston Collection, 1952
Born in Orel, Russia. Attended School of Fine Arts, Kiev;
EXHIBITIONS:
Academy of Fine Arts, St. Petersburg. 1912, I9i3-r4 in Paris.
1915-16 in Oslo with younger brother Naum Gabo. 1917 Rose Fried Gallery, New York, Januar)- i6-February 23,

returned to Russia and taught at Moscow Academy of Fine 1952, Coincidences, no. 16
D.I.A., 1957-58, no. 77, p. 64
Arts with Kandinsky and Malevich. 1920 wrote Realist
D.I.A., 197^-73
Manifesto with Gabo expressing a revolutionary esthetic for
sculpture as space and void, incorporating the dimension of REFERENCE:
time. 1923 moved to Paris. 1930 became French citizen. 193
Peissi, Pierre and Carola Giedion-Welcker, Antoine Pevsner,
joined Abstraction-Creation; 1946 co-founder of group
Griffon, Neuchatel, Switzerland, 1961, no. 29, p. 148, ill.
Realites Noiivelles. 1948 large retrospective at The Museum
ofModern Art, New York with Gabo. 1957 retrospective at W-148
Musee National d'Art Moderne, Paris.

148
74- ANTOINE PEVSNER EXHIBITIONS:

University of Michigan, 1955, no. 49, p. 14

Figure. 19Z5
D.I. A., 1957-58, no. 78, p. 64, ill. p. 67. Did not travel
Copper, 10V2 X 6 X 6"
REFERENCES:
Front r. base "Pevsner"
"The Winston Collection on Tour," Arts, 1958, ill. p. 39
PROVENANCE: Peissi, Pierre, and Carola Giedion-Welcker, Antoine Pevsner,
Griffon, Neuchatel, Switzerland, 1961, no. 54, p. 149, ill.
Tristan Tzara, Paris
Taylor, Collections, 1963, pp. 292, 302
Winston Collection, 1954
Baro, Art in America, 1967, ill. p. 75
Goldwater, Space and Dream, 1967, ill. p. 76

W-147

150
75. ANTOINE PEVSNER REFERENCES:

Drouin, Rene, ed., Antoine Pevsner, Paris, 1947, ill.

Fresco, fauna of the Ocean (Fresqiie, le faiine de I'ocean).
Bernier,Rosamond, "Propos d'une sculpteur," interview with
1944 Pevsner, L'Oeil, no. 23, November 1956, ill. pp. 32-33

Brass and oxidized tin, zo% x 18" (Reprinted in English as "Pevsner or Constructivism,"
Aspects of Modern Art: The Selective Eye III, Paris and New
l.r. "AP 44"
York, 1957, ill. pp. 156-57)

PROVENANCE: Massat, Rene, Antoine Pevsner et le Constructivisme, Paris,

1956,111.
the artist
Degand and Arp, Aujotird'hiii, 1957, ill. p. 30
Winston Collection, 1956
Saarinen, Art Neivs, 1957, fig. 3, p. 65, ill. p. 32
EXHIBITIONS: Mellquist, XX« Steele, 1958, n.p.

New Peissi, Pierre and Carola Giedion-Welcker, Antoine Pevsner,

The Museum of Modern Art, York, February lO-April
Griffon, Neuchatel, Switzerland, 1961, no. 95, p. 150, ill.
25, 1948, Gabo-Pevsner, p. 82, ill. p. 74
Taylor, Collections, 1963, p. 302, ill. pp. 299, 303
Musee National d'Art Moderne, Paris, December 21, 1956-
March 10, 1957, Antoine Pevsner, no. 41, p. 20, pi. XII Kuh, Katherine, Break-Up: The Core of Modern Art, New

D.I.A., 1957-58, no. 79, p. 64, ill. p. 10

York Graphic Society, Greenwich, 1965, no. 77, pp. 112-13,
D.I.A., 1969, Detroit Collects, no. 148 136, ill.

D.I. A.,
Francoeur, Chicago Mid-West Art, 1967, ill. p. 7
1972-73

W-58

151
 76. FRANCIS PICABIA

Landscape, La Creiise (Paysage de La Creiise}. c. 191Z

Oil on canvas, 19 x 361/2"

l.r. "Picabia"

PROVENANCE:
Francis Picabia 1879-1953 Gabrielle Buffet-Picabia, Paris
Rose Fried Gallery, New York
Born in Paris of Spanish father and French mother. 1895 Winston Collection, 1951
entered Ecole des Arts Decoratifs, Paris. Painted in Im-
EXHIBITIONS:
pressionist style. 1909 began to work in manners related to
Fauvism, Cubism, and Abstract art. 1911 met Marcel Du-
Galerie Rene Drouin, Paris, March 4-Z6, 1949, 41)1, ;o ans
de plaisir, no. 7
champ and joined the Puteaux group which became Section
d'Or. 1913 came to United States for the Armory Show. One- Rose Fried Gallery, New York, opened February 15, 1950,
Picabia, no. i
man exhibition at 291, New York, 1913. 1915 beginning of
machinist or mecanomorphic period in which he made Rose Fried Gallery, New York, December 7, 1953-January

imaginary living machines. 1916-21 participated in Dada

8, 1954, Ditchamp and Picabia, no. i

University of Michigan, 1955, no. 2.0, p. 14

manifestations and contributed to Dada publications. After
D.I. A., 1957-58, no. 80, p. 67, ill. p. 68
1927 showed in Paris Salons with Surrealists. 1933-39 worked
in a variety of styles; simplified naturalistic figures as well as
The Solomon R. Guggenheim Museum, New York, Septem-
ber 17-December 6, 1970, Francis Picabia, no. zi, p. 65, ill.
landscapes in Impressionist and Fauvist manners. Retrospec-
tive at Galerie Rene Drouin, 1949. Died Travelled to Art Gallery of Ontario, Toronto, February 26-
in Paris.
April 4, 1971; Detroit Institute of Arts, May 4-June 27, 1971
(hereafter cited as Guggenheim, 1970-71, Picabia)
D.I. A., 1972-73

REFERENCES:

Pearlstein, Philip, "The Symbolic Language of Francis

Picabia," Arts, vol. 30, no. 4, January 1956, ill. p. 41
Buffet-Picabia, Gabrielle, Aires abstraites, Pierre Cailler,
Geneva, 1957, pp. 26-27
"The Winston Collection on Tour," Arts, 1958, ill. p. 36
LeBot, Marc, Francis Picabia, et la crise des valeurs figura-
tives, i')oo-i')i;, Klincksieck, Paris, 1968, no. 41, pp. 99-100
(hereafter cited as LeBot, 1968)
Rubin, William S., Dada a!id Surrealist Art, Abrams, New
York, 1969, no. 24, p. 44, ill. p. 45
Seuphor, L'Art abstrait, 1971, no. 9, p. 211, ill. p. 20
Tall, William, "Picabia: His Creed, Constant Change,"
Detroit Free Press, June 1971, n.p.

W-146

Although this landscape has often been dated 1908, William

Camfield has dated it c. 1912 on stylistic grounds. (See
Guggenheim Museum Picabia catalogue cited above.)

152
77- FRANCIS PICABIA yS. FRANCIS PICABIA

Mechanical Expression Seen ihrough Our Own Mechanical Portrait of Marie Laiirencin, Four in Hand, c. 1917

Expression. 1913 Ink and watercolor on board, 22 x 17%"

Watercolor on paper, 7% x SVb" l.r. "Francis Picabia"; u.l. "portrait DE marie laurencin/

l.r. "Picabia 1913"; u.c. "Mechanical Expression Seen / FOUR IN hand"; I.e. "a l'ombre d'un boche"; r.c. "le fidele

Through Our Own/ Mechanical/ Expression"; c. "New coco"; l.r. "iL n'est pas donne a tout le monde/d'aller
York"; I.e. "NPIERKOWSKA" a barcelone"; "a mi-voix"

provenance: PROVENANCE:
Tristan Tzara, Paris Rose Fried Gallery, New York
Winston Collection, 1954 Winston Collection, 1952

EXHIBITIONS: EXHIBITIONS:

Modern Gallery, New York, January 5-25, 1916, Picabia, Galerie Colette Allendy, Paris, October i8-November 16,
no. 15 1946, Picabia, no. 17
D.I.A., 1957-58, p. 80. Did not travel Yale University Art Gallery, New Haven, February 11-
D.I. A., 1962, Trench Drawings and Watercolors

REFERENCES:

"Picabia's Puzzles," The Christian Science Monitor, Boston,

January 29, 1916
Camfield, William A., "The Machinist Style of Francis
Picabia," The Art Bidletin, vol. XLVIII, no. 3-4, September- WECH^wiCAL. EXPRESS "lO/jX^f^
December 1966, p. 313, ill. pp. 4, 318 (hereafter cited as
I

ThKov&h Our
'
0,^k,
Camfield, Art Bulletin, 1966)
Laroiisse, 1969, no. 1147, p. 367 I
W-35

154
March ii, 1951, and The Bahimore Museum of Art, March REFERENCES:
2i-April zi, 1951, Pictures for a Picture: of Gertrude Stein Baur, John I. H., "The Machine and the Subconscious: Dada
as a Collector and Writer on Art and Artists, no. 23, p. 33
in America," Magazine of Art, vol. 44, no. 6, October 1951,
Rose Fried Gallery, New York, May- June 195 1, Some Areas
P-2.35
of Search Art d'Aiijoitrd'hiii, serie 4, no. 3-4, May-June 1953, p. 61
Rose Fried Gallery, New York, January i6-February 23, Buffet-Picabia, Gabrielle, Aires abstraites, 1957, p. 37
1952, Coincidences Saarinen, Art News, 1957, fig. 4, ill. p. 34
Rose Fried Gallery, New York, December 7, 1953-January "The Winston Collection on Tour," Arts, 1958, ill. on cover
8, 1954, Dtichanip and Picabia Johnson, Una E., zoth Century Dratvings, Part I: 1900-1940,
University of Michigan, 1955, no. 5 1, p. 14 Shorewood, New York, 1964, ill. p. 78
D.I.A., 1957-58, no. 81, p. 67, ill. p. 68 Sanouillet, Michel, Picabia, I'oeil du temps, Paris, 1964,
Vassar College, 1961, Centennial Loan Exhibition, no. 114 102
p.
D.I.A., 1962, French Draivings and Watercolors Camfield, Art Bulletin, 1966, pp. 317-18, ill. no. 19
Guggenheim, 1963-64, 10th Century Master Draivings, LeBot, 1968, pp. 127-28, ill. no. 41
no. 98 Larousse, 1969, no. 1078, p. 345
Museum of Modern Art, 1968-69, The Machine, ill. p. 88
Pearlstein, Philip, "Hello and Goodbye, Francis Picabia," Art
Guggenheim, 1970-71, Picabia, no. 56, p. loi Neivs, vol. 6^, no. September 1970,
5, ill. p. 54
D.I.A., 1972-73
Seuphor, L'Art abstrait, i97i,no. 11, p. 211, ill. p. 21

W-43

\ f_io.T-KK\T aV i^\kh,\^ LftUIRE ATeTAT

Four iH H am D

/^

155
 79. FRANCIS PICABIA

Alarm Clock I (Keveil Matin). 1919

Ink on paper, 1x1/2 x 9"

1.1., vertically "Francis Picabia"; l.r. "Reveil Matin"

PROVENANCE:
Tristan Tzara, Paris
Winston Collection, 1954

EXHIBITIONS:

D.I. A., 1957-58, p. 80. Did not travel

D.I. A., 1961, French Drawings and Watercolors

Museum of Modern Art, 1968-69, The Machine, p. 90, ill.

Guggenheim, 1970-71, Picabia, no. 66, p. 109, ill.

REFERENCES:

Tristan Tzara, ed., Anthology Dada: Dada 4-5, Zurich,

March 15, 1919, ill. inner cover
Buffet-Picabia, Gabrielle, "Memories of Pre-Dada: Picabia
and Duchamp," Robert Motherwell, ed., Dada Painters and
Poets, Wittenborn, New York, 1951, p. 166, ill. p. 130
Arp, Jean, statement in Picabia in Menioriam, Orbes, Paris,
April 10, 1955
Verkauf, Willy, Dada, Monographie einer Bewegiing, M.
Janco and H. Bollinger, 1958, p. 20
Seuphor, Abstract Painting, 1962, no. 103, p. 311, ill. p. 81
Carrieri, Raffaele, Futurism, Milan, 1964, p. 185, ill. p. 83

Richter, Hans, Dada: Art and Anti-Art, McGraw-Hill, New

York and Toronto, 1965, ill. p. 76
Camfield, Art B«/tom, 1966, p. 319, ill. no. zy
Musee National d'Art Moderne, Paris, 1966-67, Dada, ill. on
front and back of cover
Wescher, Herta, Collage, Abrams, New York, 196S, fig. 16,
ill. p. 134

G-171 J

A similar drawing of approximately the same time is in the

collection of Guido Rossi, Milan. A composition of an alarm
clock, completely hand drawn, unlike this work which was
made by placing inked clock-parts on paper, appears in
Picabia's scrapbook. (See Guggenheim Picabia catalogue
cited above).

156
F^EVEIL t^hXlfl
 8o. PABLO PICASSO

Still Life. 1913

Pencil on paper, 9% x ii-yie"

u.r. "Picasso / 1913"

PROVENANCE:
Pablo Picasso 1881-1973 Buchholz Gallery, New York
Winston Collection, 1947
Born in Malaga, Spain. 1891 studied at Da Guarda School of
EXHIBITIONS:
Arts and Industries where father taught. 1S95 to Barcelona,
Cranbrook, 1951, no. 71
entered art school there. 1900 first trip to Paris. 1904 settled
Albion College, 1956, no. 24
in Paris, studio in "Bateau Lavoir." 1901-04 Blue Period;
D.I. A., 1957-58, no. 82, p. 70, ill. p. 6^
1904-0S Rose Period. Association with Steins at this time.
D.I. A., 1962, Picasso
1907 influence of African and Iberian art. 1908 association
with Braque; with him evolved Analytic, Synthetic Cubism
Marlborough-Gerson Gallery, New York, November-
and collage. 1920's neo-classic period. 1925 through 30's
December, 1963, Artist and Maecenas: A Tribute to Curt
Valentin, no. 176, p. 94, ill.
marginal Surrealism. 1919-30 produced many sculptures.
Late 30's monochromatic and diagrammatic style of
Fort Worth Art Center Museum and Dallas Museum of Fine
Arts, February 8-March 26, 1967, Picasso Retrospective
Guernica. Spent War years in Paris; refused to return to
Exhibitions, no. 168, p. 102
Spain during Franco regime. Intense activity in ceramics and
Indiana University, 1971, Reflection, no. iii, pp. 70,
lithography after War. 1948 moved to south of France. Late 8, ill.

p. 8
4o's-5o's paintings more loosely constructed. 1963 opening
D.LA., I972--73
of Picasso Museum, Barcelona. Series of erotic works 1969-
70. 1971 major e.xhibition at Museum of Modern Art, New G-157
York, on 90th birthday.

158
8i. PABLO PICASSO

Glass on a Table (Verre sur ime table). 1914

Collage, oil, sand and pencil on cardboard

l.r. "Picasso"

PROVENANCE:
Daniel-Henry Kahnvveiler, Paris
Jean Lur^at, Paris, 192.1

Martha Hennebert, Paris

Galerie Jeanne Bucher, Paris
Winston Collection, 1952

EXHIBITIONS:

University of Michigan, 1955, no. 53, p. 15

D.I. A., 1957-58, no. 83, p. 70
D.I. A., 1962, Picasso

D.I.A., 1972-73

REFERENCE:

Zervos, Christian, Pablo Picasso, oeiwres de i^ii a 1^17,

Paris, 1942, vol. II, pl. 453, p. 212

W-96

159
 82. PABLO PICASSO

Still Life with Guitar (Guitare stir un table). 1921 recto

The Portal, Fontainbleu (Le Portail). 1921 verso

Oil on canvas, 39 x 3814"

1.1. recto "Picasso"

PROVENANCE:
the artist, Paris /

Pierre Loeb, Paris

Saidenberg Gallery, New York, 1947
Winston Collection, 1953

EXHIBITIONS:

University of Michigan, 1955, no. 54, ill. on cover

D.I. A., 1957-58, no. 84, p. 70, ill. p. 18

D.I.A., 1962, Picasso

D.I. A., 197Z-73

REFERENCES:

Cahiers d'Art, Paris, nos. 3-10, 1938, ill. for advertisement of

Galerie Pierre, Paris, n.p.
Zervos, Christian, Pablo Picasso, oetivres de 1920 a 1922,
Paris, 1942, vol. IV, pi. 334, p. 128; verso, pi. 282, p. 100
Degand and Arp, Aujourd'hiii, 1957, ill. p. 30
Vassar Alumnae Magazine, 1958, p. 11
The Bloomfield Art Association, cover for invitation to The
Arts Festival Ball, June 11, i960
Taylor, Collections, 1963, p. 303
Baro, Art in America, 1967, p. 72
Baro, The Collector in America, 1971, p. 183

W-97

160
83. PABLO PICASSO

Portrait of a Woman Seated under a Light. 1938

Ink and wash on paper, 2.6 x 17V&"

I.e. "8.9.38. Picasso"

PROVENANCE:
the artist, Paris
Ronald Emanuel, London, 1938
London and New York
Charles Fry,
B. T. Batsford, Ltd., New York
Winston Collection, 1948

EXHIBITIONS:

University of Michigan, 1955, no. 55, p. 15

D.I.A., 1957-58, no. 85, p. 70. Did not travel
D.I. A., 1962, Picasso

Indiana University, 1971, Reflection, no. 112, p. 71, il'

P-73
D.I.A., 1972-73 m--'

G-189

162
PABLO PICASSO EXHIBITIONS:

University of Michigan, 1955, no. 56, p. 15

Portrait of Dora Maar. 1941
D.I. A., 1957-58, no. 86, p. 70, ill. p. 69
Oil on canvas, i6Vs x 13%" D.I. A., 1962, Picasso

l.i. "Picasso"; on stretcher "25 mi 41" Fort Worth Art Center Museum and Dallas Museum of
Fine Arts, February 8-March 26, 1967, Picasso Retrospective
PROVENANCE: Exhibitions, no. 64, p. 96
the artist, Paris D.I.A., 1972-73

Samuel Kootz, New York

REFERENCES:
Sidney Janis Gallery, New York, 1947
Winston Collection, 1953 Janis, Harriet and Sidney, Picasso — The Recent Years, New
York, 1946, pi. 73
Taylor, Collections, 1963, p. 293

W-98

163
Jackson Pollock 191Z-1956

Born in Cody, Wyoming. Studied painting at Manual Arts

High School, Los Angeles. 1929 studied with Thomas Hart
Benton, Art Students' League, New York. 1935 settled in
New York. 1938-42 worked on Federal Arts Project. 1943
first one-man show at Peggy Guggenheim's Art of This Cen-
tury gallery. Before 1947 painted in Surrealist idiom using
mythical or totemic figures. 1947 first paintings in mature
style using drip technique on unprimed canvas. 1950
exhibited at 25th Venice Biennale; was shown extensively in

United States and Europe subsequently. 1956 killed in auto-

mobile accident.

164
85. JACKSON POLLOCK
Moon Vessel. 1945

Oil and enamel on composition board, 33% x 171/2"

I.e. "Jackson Pollock"

PROVENANCE:
the artist, New York
Peggy Guggenheim, New York
Winston Collection, 1946

EXHIBITIONS:

Art of This Century, New York, April 2-20, 1946, Jackson

Pollock, no. 9
University of Michigan, 1955, no. 57, p. 15
D.I. A., 1957-58, no. 88, p. 70, ill. p. 71
D.I. A., 1961, American Paintings and Watercolors, no. 183,
p. II

The Museum of Modern Art, New York, April 15 -June 4,

1967, Jackson Pollock, no. 12, p. 132. Travelled to Los

Angeles County Museum of Art, July 19-September 3, 1967
D.I. A., 1969, Detroit Collects

D.I. A., 1971-73

REFERENCES:

Saarinen, Art Neius, 1957, p. 64

Taylor, Collections, 1963, p. 300
Baro, Art in America, 1967, ill. p. 72
Kroll, Jack, "A Magic Life," Newsweek, April 17, 1967, ill.

p. 97
Miesel, The Connoisseur, 1968, fig. 5, ill. p. 262
Baro, The Collector in America, 1971, ill. p. 183

W-124

This painting is a fine example of Pollock's style before the

post-1947 "drip" work for which he is best known. Clearly

he was already preoccupied with a technique incorporating
a form of random dripping. Lydia Malbin responded at once
to the picture upon seeing it in 1946 at Peggy Guggenheim's
gallery, where she had been looking for an Andre Masson.
Pollock's work was completely new to her, but she felt an
overwhelming strength in it. She thought there was an af-

finity between Pollock's largely automatic approach and

Masson's automatism. She has speculated on the possible
correspondence between the glazed surfaces of her own ce-
ramics and Pollock's surface quality. This painting was the
first Pollock purchased by a private collector.

165
 86. MEDARDO ROSSO
The Flesh of Others (Came altrui; Chair a plaisir;

Chair a autnii). 1883

Wax over plaster, 10% x 9V2 x 6%"

Unsigned

Medardo Rosso 1858-1928 PROVENANCE:

the artist '

Born in Turin. 1870 to Milan. Drawn to Milanese Etha Fles

Scapigliatitra group. i88z enrolled in Brera Academy, Milan; Agatha Verkroost, Amsterdam
expelled 1883. 1884 to Paris, assistant briefly to Dalou; met Winston Collection, 1963 (through Alexandrine
Rodin. 1886-89 showed at Paris Salon and Salon des Osterkamp, Amsterdam)
Independants. 1900 met Etha Fles who became his patroness.
REFERENCES:
Achieved renown in France and Northern Europe. One man
shows: 1904 Salon d'Automne, Paris; 1905 Vienna; 1906 Barr, Margaret Scolari, "Medardo Rosso and His Dutch
London. His concepts derived partially from Impressionism Patroness, Etha Fles," Nederlands Kunsthistorisch Jaarboek,
and Symbolism. Greatly admired by Italian Futurists for his V, 13, 1961, ill. p. 241 (hereafter cited as Barr, "Rosso and
rendering of interaction of environment and subject. 1910 Etha Fles," 1962)
first one-man exhibition in Florence; subsequent recognition Barr, Margaret Scolari, Medardo Rosso, The Museum
in Italy aided by Futurist support. of Modern Art, New York, 1963, pp. 23, 25 (hereafter cited
as Barr, Roiso, 1963)

W-219

166
^: 1
 87- MEDARDO ROSSO
Man in the Hospital (Malade a I'hopital; Malato all'

ospedale; Dopo la visita). 18S9

Bronze, 9x8x11"
Unsigned

PROVENANCE:
the artist ;

Etha Fles
Agatha Verkroost, Amsterdam
Winston Collection, 1963 (through Alexandrine
Osterkamp, Amsterdam)

REFERENCES:

Barr, "Rosso and Etha Fles," 1962, ill. p. 241

Barr, Rosso, 1963, p. 30, ill. p. 78
Barr, Margaret Scolari, "Medardo Rosso and His
Utrecht Friend," Art Neii's Quarterly, portfolio no. 8,

Spring 1964, p. 81, ill. p. 78 (hereafter cited as Barr,

"Rosso and Friend," 1964)

W-216

While a patient at Lariboisiere Hospital in Paris, Rosso was

struck by a sick old man in an armchair who subsequently
inspired this profound image of mute resignation. According
to Etha Fles and Rosso, this piece provided leading sug-
gestions for Rodin's Monument to Balzac. Rosso cast this

bronze in Paris.

168
MEDARDO ROSSO
Jewish Boy (Enfant jiiif; Bimbo ebreoj. 1892

Wax over plaster, 81/2 x 5 x 8"

Unsigned

PROVENANCE:
the artist
Etha Fles
Agatha Verkroost, Amsterdam
Winston Collection, 1963 (through Alexandrine
Osterkamp, Amsterdam)

REFERENCES:

Barr, "Rosso and Etha Fles," 1961, ill. p. 141

Barr, Rosso, 1963, p. 36, ill. p. 78
Barr, "Rosso and Friend," 1964, ill. p. 78

W-218

Rosso, so bent on capturing the transitory and the fragile,

understandably was drawn to children as subjects for his art.

He subtly suggests their vulnerability, intimate dependence

upon their surroundings and their undeveloped individual
potential. Rosso claimed that this sculpture was a likeness
of the young Baron Rothschild.

170
MEDARDO ROSSO
Sick Boy (Enfant malade; Bimbo malato; Bimbo
morente). 1S513

Wax over plaster, ii'/i xioxy'/^"

Unsigned

PROVENANCE:
the artist
Etha Fles
Agatha Verkroost, Amsterdam
Winston Collection, 1963 (through Alexandrine
Osterkamp, Amsterdam)

REFERENCES:
Barr, "Rosso and Etha Fles," 1962, ill. p. 241
Barr, Rosso, 1963, pp. 38, 40, ill. p. 78
Barr, "Rosso and Friend," 1964, ill. p. 78

W-217

171
 90. MEDARDO ROSSO
Ecce Flier; Behold the Boy. 1906-07

Wax over plaster, 17 x 14 x 8"

I.e. "M. Rosso"

PROVENANCE:
Anita Gemito, Rome
Peridot Gallery, New York, June 1959
Winston Collection, December 1959

EXHIBITIONS:

Peridot Gallery, New York, December 15, 1959-January

16, i960, Medardo Rosso, no. 12, ill.

D.I. A., 1972-73

REFERENCES:

Ashton, Dore, "A Sculptor of Mystical Feeling," New

York Times, December 27, 1959, p. X17
Kramer, Hilton, "Medardo Rosso," Arts Magazine,
December 1959, vol. 34, no. 3, ill. on cover and p. 31

Barr, Margaret Scolari, "Reviving Medardo Rosso,"

Art Netvs, January i960, vol. 58, no. 9, p. 36, ill. p. 37
"From Exhibitions Here and There," Art International,
vol. IV, no. 2-3, i960, no. 5, ill. p. 79
Barr, "Rosso and Etha Fles," 1962, ill. p. 237
Barr, R0550, 1963, pp. 58-59, ill. p. 57
"People Are Talking About Medardo Rosso," Vogue
Magazine, October i, 1963, ill. p. 155
Barr,"Rosso and Friend," 1964, p. Si, ill. p. 78
Read, Modern Sculpture, 1964, no. 7, pp. 23, 303, ill. p. 20
Geist, Sidney, Brancusi: A Study of the Sculpture,
Grossman, New York, 1968, ill. p. 184
'

Baro, The Collector in America, ill. p. 182

W-so

This piece, Man in the Hospital and Jewish Boy were among
Rosso's favorite works. In these he believed he had suc-
ceeded in transmitting "the emotion, the unification of light,

space and air." It is a commissioned portrait of Alfred

William Mond, child of Emile Mond of London. Rosso has
recorded the boy's sudden appearance from behind a curtain
at a large reception in his parents' house. In explanation of
the title. Rosso said: "Voila la vision de purete dans un
monde banal." Ecce Piier is the only piece of sculpture Rosso
completed during the last quarter of his life.

lyz
 31. MORGAN RUSSELL

Synchromy No. 2, To Light; Synchroiny to Light. 1913?

Oil on canvas mounted on cardboard, 13 x gyg"

On reverse "1912/N0. 2/Morgan Russell"

PROVENANCE:
Morgan Russell 1886-1953 Rose Fried Gallery, New York
Winston Collection, 1953
Born in New York. Studied at Art Students' League, New EXHIBITIONS:
i

York with Robert Henri, 1906-07. 1909 to Paris, knew

Matisse, Leo Stein among others. 191Z developed
Galerie Bernheim-Jeune, Paris, October 27-November 8,

Synchromism in collaboration with MacDonald-Wright, in

1913, Les Syrichromistes: Morgan Russell et Stanton

which pure color was explored. Influence of Orphism, MacDonald-Wright

Delaunay and Kupka important. First Synchromist exhibi-
Rose Fried Gallery, New York, January i6-February 23,

tions 1913 Munich and Paris; included in Armory Show, 1952, Coincidences, no. 18

New York. After 1920 returned to figurative work. Died m Rose Fried Gallery, New York, October 26-November 30,

Broomall, Pennsylvania. 1953, Morgan Russell, 1584-1953; An Exhibition in

Memoriam, no. 3
Walker Art Center, Minneapolis, April i-May 2, 1954,
Morgan Russell: Paintings, no. 3, ill.

University of Michigan, 1955, no. 58, p. 15

Pioneers of American Abstract Art, circulated by the
American Federation of Arts to Atlanta Public Library,
December 1-22, 1955; Louisiana State Exhibit Museum,
Shreveport, January 4-25, 1956; J. B. Speed Art Museum,
Louisville, February 8-March i; Lawrence Museum,
Williamstown, Massachusetts, April 19-May 10; George
Thomas Hunter Gallery, Chattanooga, May 24-June 14;
Rose Fried Gallery, New York, December 19, 1956- January
9, 1957; no- 32->P-ii
D.LA., 1957-58, no. 89, p. 70, ill. p. 71
D.LA., 1962, American Paintings and Drawings,
no. 142, p. 10
Corcoran Gallery of Art, Washington, D.C., April 26-June
2, 1963, The New Tradition — Modern Americans
before 1940, no. 83, p. 64
M. Knoedler & Co., Inc., New York, October 12-November
6, 1965, Synchromism and Color Principles in American
Painting, no. 44, pp. zo, 52, ill.
9 p. 25, fig.
National Collection of Fine Arts, Smithsonian Institution,
Washington, D.C., December 2, 1965 -January 9, 1966,
Roots of Abstract Art in America, 1910-1930, no. 143
The New Jersey State Museum Cultural Center, Trenton,
May 20-September 10, 1967, Focus on Light, no. 87
D.I.A., 1972-73

REFERENCES:

Read, Modern Painting, 1959, no. 33, p. 365, il p. 294

Baro, The Collector in America, 1971, p. 187

W-126

174
William Agee dates the painting 1913 and titles it

Synchromie en bleti-violace (Synchromy to Light), in spite of

the inscription on the reverse which was probably not

written by the artist. Agee considers it and its sketch
(Collection Los Angeles County Museum of Art) to be
Russell's first completely abstract paintings, which must
have been done in the summer of 1913. "This painting and
the sketch originally carried the French titles, coming to be

known as Synchromy to Light by virtue of the passage

from Genesis following the title in the Catalogue of the
Bernheim-Jeune exhibition: 'Alors Dieu dit: Que la huniere
soitl et hi Imniere jut . .
.'
The painting was dedicated
to Mrs. Harry Payne Whitney, Russell's benefactress and
patron from 1908 to 1915. It is probable that this painting is

a later, although identical, version completed in the

early twenties when Russell had returned to his abstract

Synchromies." (Agee, Knoedler catalogue, 1965, p. 52)

Russell himself described this painting: "There is no subject

in the ordinary sense ... Its subject is the bleu-fonce
evolving according to the particular form of my canvas."
(Bernheim-Jeune catalogue, 1913, as quoted from Agee,
Knoedler catalogue, p. 52.)

175
Luigi Russolo 1 885-1947

Born in Portogruaro, near Venice. 1901 to Milan; trained as

a musician, largely self-taught as an artist. Signed Futurist
painting manifestos, 1910. Participated actively in movement
as painter until 1913. From 1913 experiments with Art of
Noises, concerning which he wrote important manifesto.
With painter Ugo Piatti constructed noise producing
machines, Intonanimori; 1913-14 gave performances on them
in Italy and England. Participated in later phase of Futurism,
but spent more time in elaborating music than painting.
After 1930 interest in mysticism and Yoga reflected in book
Al di la delta materia, 1938. 1940's returned to painting,

but in simple, figurative style.

176
LUIGI RUSSOLO REFERENCES:
Russolo, Maria Zanovello, Russolo, I'uomo, I'artista,
Nietzsche; Nietzsche mid Madness (Nietzsche e la pazzia).
Corticelli, Milan, 1958, p. 24
c. 1909 Archivi del divisionismo, vol. 2, no. 2726, p. 221,

Etching on paper, 8 x 8" (sheet) pi. 587 (another impression)

Martin, 1968, pi. 31 (another impression)
1.1.
" 'Nietzsche' "; l.r. "L Russolo"
G-274
PROVENANCE:
Benedetta Marinetti, Rome Russolo apparently left 40 etching plates to his widow,
Winston Collection, 1954 but it is not known how many editions were made of
each, either before or after his death.
EXHIBITIONS:

Kalamazoo Institute of Arts, 1968, Graphics from The

Winston Collection
Krannert Art Museum, 1969, Extensions of the Artist, p. 29

Toledo Museum of Art, 1972, A Collector's Portfolio,

no. 133

177
 93- LUIGI RUSSOLO

Perfume (Profumo). 1909-10

Oil on canvas, ifii/g x z^Vi"

l.r. "L. Russolo"

PROVENANCE;
Benedetta Marinetti, Rome
Winston Collection, 1956

EXHIBITIONS:

Famiglia Artistica, Milan, opened December 20, 1910, no. 48

Padiglione Ricordi, Milan, opened April 30, 191 1, Prima
EsposizioTie Libera, sponsored by Societa Umanitaria, Casa
del Lavoro
D.I.A., 1957-58, p. 80. Did not travel

Museum of Modern Art, 1961, Futurism, no. 86, pp. 15,

146, ill. p. Z7
D.I.A., 197Z-73

REFERENCES:

Russolo, Maria Zanovello, Russolo, I'tiomo. I'artista.

Corticelli, Milan, 1958, pp. 23, 24, 26, 97

Archivi del futurismo, vol. 2, no. iia, p. 306
Archivi del divisionismo, vol. 2, no. 2729, p. 221, pi. 588
Pierre, Jose, Le Futurisme et le dadaisme. Rencontre,
Lausanne, 1967, p. 205, ill. p. 14
Calvesi, Maurizio, "Boccioni e il futurismo milanese,"
L'Arte moderna, vol. V, no. 38, 1967, ill. p. 46
Baro, Art in America, 1967, ill. p. 73
Martin, 1968, pp. 83-84, pi. 45
Baro, The Collector in America, i^ji, ill. p. 181
Tercian, Le Sedatif qui ne tasse pas, Printel, Paris, 1972,
ill. p. 38

W-12

The synesthetic tendencies which Futurism had inherited

from the 19th-century Italian scapigliatura and from
Symbolism are expressed in this lovely painting. Russolo
has created a visual correspondence for non-visual sensa-
tions. Form, color and light are arranged to simulate
olfactory — and more remotely — auditory sensations
and their development in time. The ultra-femininity of this
picture has still more in common with the d'Annunzian
celebration of the eternal feminine than with the
Futurist scorn for women.

178
?t^/

'"rr^
Kurt Schwitters 1887-1948

Born in Hanover. 1909-14 studied in Dresden and Berlin.

1918 began experimenting with collage; exhibition at

Der Sturm Gallery, Berlin. 1919 formulated concept of
MERZ, permitting the use of any and all materials for
collages and paintings with collage elements. Throughout
192.0's created a construction which he called Merzbaii
and which grew to fill his home. Considered as a Dada artist
although his works combine Cubist structure with Dada
viewpoint. 19Z3-31 published Merz magazine. 1937-40 lived
in Norway where he began another Merzbau. 1941 moved to
England and started a third Merzbau.

180
94. KURT SCHWITTF.RS EXHIBITIONS:

Galerie Berggruen, Paris, June, 1954

Composition: Ashofj, Ellen. 1911
Kurt Schwitters Collages, no. 41
Collage on paper, ii'/u, x S'^/i^" University of Michigan, 1955, no. 60, p. 15

l.r. "Kurt Schwitters, zi" Albion College, 1956, no. 25, ill. on cover
D.I.A., 1957-58, no. 93a, p. 73

PROVENANCE: Indiana University, 1971, Reflection, no. iz6, p. 77, ill. p. 77

Tristan Tzara, Paris G-62.
Winston Collection, 1954

181
95- KURT SCHWITTERS EXHIBITIONS:

The Pinacotheca Gallery, New York, January 19 -February

C 48 5.Y. Cut Merz. 1946
1948, Kurt Schwitters, no. 11
Collage on paper, 81/2 x SVi" Cranbrook, 1951, no. 44

I.e. "KS/46"; 1.1. "Kurt Schwitters 1946 Mz F 15' D.I.A., 1957-58, no. 93c, p. 73, ill. p. 72
Museum of Modern Art, 1561-62, The Art of Assemblage,
l.r. "C 46/s y cut"
no. 223, p. 164

PROVENANCE: W-46
The Pinacotheca Gallery, New York
Winston Collection, 1948

^"^^

^(^%l

6 .

y ^^
96. KURT SCHWITTERS EXHIBITIONS:

Cranbrook, 195 1, no. 43, ill.

5 s; Merz. 1946 University of Michigan, 1955, no. 61, ill. p. 65

Collage and watercolor on paper, y'/ir, x 5%" D.I. A., 1957-5S, no. 93b, p. 73

l.r. "KS/46" W-61

PROVENANCE:
Katherine S. Dreier, "West Redding, Connecticut
The Pinacotheca Gallery, New York
Winston Collection, 1948

183
 97- KURT SCHWITTERS
Ent Garett, Merz. 1947

Collage on paper, 8% x 6%"

1.1. "KS 47 Mz F 17"; I.r. "ent garett"

PROVENANCE:
the artist
The Pinacotheca Gallery, New York
Winston Collection, 1948

EXHIBITION:

Cranbrook, 195 1, no. 47

W-63

K>^/ //^x^/7 M^ GJIUS^

184
KURT SCHWITTERS
Examiner z86i Merz. 1947

Collage on paper, 8Y2 x 6%"

1.1. "Kurt Schwitters/Examiner zi ..r. 47 100

PROVENANCE:
the artist
The Pinacotheca Gallery, New York
Winston Collection, 1948

EXHIBITIONS:

Cranbrook, 195 1, no. 45

University of Michigan, 1955, no. 62, p. 16
D.I.A., 1957-58, no. 93d, p. 73, ill. p. 72
Indiana University, Reflection, 1971, no. 117, p. 77

REFERENCE:

Taylor, Collections, 1963, p. 298

W-So

KURT -so H >

t-.i.-
i «• R„!BBL

JCf

,k.;.'- t i.M-'

185
Gino Severini 1883-1966

Born in Cortona, Italy. 1899 to Rome, attended life drawing

classes. 1901 met Boccioni and Balla. 1906 settled in Paris;
associated with avant-garde there. Signed both Futurist
painting manifestos. The most Paris-oriented of the Futurists,
mid-1911 moved into closer contact with Milanese Futurists
whom he familiarized with Parisian developments. 1915-16
turned more toward Cubism and figurative classicism. 1917
one-man exhibition at Stieglitz Gallery, New York. 1921
important treatise, Du Cubisme au classicisme.
From 1922 executed many murals. 1940-42 theater decor and
costumes. Lived most of his life in Paris, where he died.

186
99- GINO SEVERINI

Study for "Portrait of Mme. M.S." 1912

Pastel and charcoal on paper, 19!^ x 13 ^a"

l.r. "G. Severini/1911"

PROVENANCE:
the artist
AJfinston Collection, 1955

EXHIBITIONS:

D.I.A., 1957-58, no. 95, p. 73, ill. p. 74

Museum of Modern Art, 1961, Futuristn, no. 105, pp. 69, 147

D.I.A., i97i-73

REFERENCES:

Archivi del fiiturismo, vol. 2, no. 10, p. 338, ill. p. 314

Taylor, Collections, 1963, p. z$6
Baro, Art in America, 1967, ill. p. 73

Baro, The Collector in America, 1971, ill. p. 181

W-4

Madame M.S. was the wife of Mr. R. R. Meyer-See,

formerly manager to Martin Henry Colnaghi, then joint
founder and director of the Sackville Gallery and
subsequently owner of the Marlborough Gallery, London.
Severini had his first one-man show at the Marlborough
Gallery in April 1913, but neither this drawing, nor the
related painting (Art Gallery of Ontario, Toronto) were
exhibited then.

187
loo. GINO SEVERINI

Portrait of Mine. Severini; Portrait of Mile. Jeanne

Paul Fort. 1913

"
Watercolor on paper, zS'^ x 21^4

l.r. "G. Severini/MCMXIII"

PROVENANCE:
the artist
Winston Collection, 1952

EXHIBITIONS:

Marlborough Gallery, London, April 1913, The Futurist

Painter Severini Exhibits His Latest Works, no. zy
Der Sturm, Berlin, Summer 1913, Gemlilde und Zeichnungen
des Futuristen Gino Severini, no. zy
D.I. A., 1957-58, no. c)6, p. 73, ill. p. 24

REFEREN'CES:

Degand and Arp, Aujoiird'hui, 1957, ill. p. 31

Mellquist, XX^ Siede, 1958, ill., n.p.

Archivi del fiiturismo, vol. z, no. Z5, p. 338, ill. p. 318

Baro, The Collector in America, 1971, ill. p. r8i

W-6

Severini's wife is the daughter of the poet Paul Fort, and

this graceful likeness was painted during the months
preceding their marriage which took place on August z8,

1913. Although his Futurist colleagues disapproved of

Severini's bow to convention, ApoUinaire, Merrill, and
Marinetti, who arrived from Milan in an appropriate white
automobile, were among the witnesses.

V.'i/'
loi. GINO SEVERINI REFERENCES:

Seuphor, L'Art abstrait, 1950, p. 153, ill.

Study for "Sea = Dancer." 1913

Archivi del futuris!no,vo\. 2, no. 29, p. 338, ill. p. 319
Charcoal on paper, zy^g x 19 ^g" Johnson, Una E., Twentieth Century Drawings: Part 1:

l.r. "G. Severini" 11)00-1^40, Shorewood, New York, 1964, pi. 40, p. 72
Seuphor, Abstract Painting, 1962, no. 22, p. 315, ill. p. 29
PROVENANCE: Francoeur, Chicago Mid-West Art, 1967, ill. p. 7

the artist
Martin, 1968, note i, p. 145, pi. 102

Winston Collection, 1952

Baro, The Collector in America, 1971, ill. p. 181
Seuphor, L'Art abstrait, 1971, no. 40, p. 215, ill. p. 107
EXHIBITIONS:
G-206
University of Michigan, 1955, no. 64, p. 16, ill.

D.I.A., 1957-58, no. 97, p. 73, ill. p. 74

Museum of Modern Art, 1961, Futurism, no. 113, p. 147

Guggenheim, 1963-64, zoth Century Master Drawings,

no. Ill

. ~-jfi"

189
loz. GINO SEVERINI During the winter and spring of 1913, while recuperating
from a severe illness at Anzio, Severini worked on a
Sea = Dancer; Dancer beside the Sea (Mare = Danzatrice). number of pictures which he called "plastic analogies."

1913-14 Sea = Dancer exemplifies stunningly the kind of association

of object-situations that was also described in his
Oil with sequins on canvas, 36V2 x 28%"
contemporary but unpublished manifesto. He writes, "the
l.r. "G. Severini"; on reverse "Gino Severini/Danseuse aux sea with its dance on the spot (al posto), its zig-zag

Bords de la Mer/a Monsieur at Madame Harry Winston movements and scintillating contrasts of silver and emerald,

ma sympathie Paris 10 -mai -I95r -G. Severini"

in my plastic sensibility evokes the far off vision of a dancer
avec route
covered with sparkling paillettes in her surroundings of light,

PROVENANCE; noises, and sounds." (Archwi del futurismo, vol. i, p. 78)

the artist Sea = Dancer was the first Futurist work to enter the

Winston Collection, I95r Wmston/Malbin Collection.

EXHIBITIONS:

University of Michigan, 1955, no. 63, p . 16

D.I.A., 1957-58, no. 98, p. 73, ill. p. 75. Did not travel

Museum of Modern Art, 1961, Futurism, no. 113, p. 72,

ill. p. 73
D.I. A., 1972-73

REFERENCES:

La Nacio7i, Buenos Aires, November 9, 1952, p. i

Vassar Alumnae Magazine, 1958, ill. on cover and p. i

"The Winston Collection on Tour," Arts, 1958, ill. p. 34

Venturi, Lionello, Gino Severini, De Luca, Rome, 1961, pi. 29
Archivi del futurismo, vol. 2, no. 38, p. 339, ill. p. 321
Carrieri, Raffaele, Futurism, Milione, Milan, 1963, pi. 107

Taylor, Collections, 1963, p. 303

Pacini, Piero, Gino Severini, Sadea/Sansoni, Florence,

1966, p. 32, pi. 30

Pierre, Jose, Le Futurisme et le dadaisme. Rencontre,
Lausanne, 1967, no. 20, p. 205, ill. p. 24
Calvesi, Maurizio, "I futuristi e la simultaneita: Boccioni,
Carra, Russolo e Severini," L'Arte moderna, vol. V,
no. 39, 19S7, ill. p. 102
Martin, 1968, pi. ioi,pp. 144-45
Seuphor, VArt abstrait, 1971, no. 5, p. 206, ill. p. 135

W-5

150
I03. GINO SEVERINI

Soldier in Trench (Sotdati in trincea). c. 1915

Pencil on paper, -/% x 7%"

l.r. "1914 G Severini" (Inscription added later by artist)

provenance:
Galerie Berggruen, Paris
Winston Collection, 1956

EXHIBITIONS:

D.I. A., 1957-58, p. 80. Did not travel

Milan, i960. Arte Italiana, no. 176, p. 101, ill. p. 64

G-164

After 1914 Severini began to withdraw from Futurism.

Somewhat unexpectedly, therefore, this gentle artist, who
endured most of the war in his Paris flat, in 1915 produced a

striking series of war paintings. The figure shown here

is related in concept to those found in the masterful

Armored Train, 1915, Collection Mr. Richard S. Zeisler,

New York. But Piero Pacini and Joan M. Lukach agree that
it is preparatory for another unexecuted work in the

same group.

192.
I04. GINO SEVERINI Severini executed a number of fastidiously organized
collages with corrugated cardboard such as this one. These
Still Life with Cherries. have posed considerable problems in dating and are

Collage on paper, ig'/i x 261/2" usually assigned to the years of 1912 or 1913 on the basis of
dated references within the work. The Lacerba page of
l.r. "G. Severini"
March 15, 1913 with Papini's provocative heading

PROVENANCE: "Contro il futiirismo," found here, could thus be taken as a

humorous, contemporary reference to Severini's role in
the artist
bringing the Florentine writer and his La Voce friends into
Winston Collection, 195Z
the Futurist fold in 1913. But on stylistic and intellectual

EXHIBITIONS: grounds the dialogue between Cubism and Futurism

University of Michigan, 1955, no. 65, p. 16

suggested in this calm collage is much closer to Severini's
approach of 1915 and after. Back in Paris after a prolonged
D.I.A., 1957-58, no. 99, p. 73

Museum Modern The Art stay in Italy and in close touch with Braque, Picasso and
of Art, of Assemblage, no. 117,
Gris, Severini gradually turned to Cubism. In 1916 Leonce
p. 164, ill. p. Z9
Rosenberg became his dealer and no doubt favored and
Indiana University, 1971, Reflection, no. 130, pp. 2.0, 79,
encouraged the dominantly Cubist control which is found
ill. p. 19
in this collage.
D.I. A., 1972-73

G-8

193
 I05. MARIO SIRONI
Composition (Composizione). c. 1913

Crayon and tempera on paper, 18% x iz^s"

l.r. "Sironi"

PROVENANCE:
Mario Sironi 1885-1961 II Milione, Galleria d'Arte Moderna, Milan
Winston Collection, 1954
Born in Tempio Pausania, Sardinia. To Rome to study
EXHIBITIONS:
mathematics at University, met Severini and Boccioni with
University of Michigan, 1955, no. 67, p. 16
whom he visited Balla's studio; decided to become an
D.I. A., 1957-58, no. loi, p. 76, ill. p. 77
artist. 1914 first exhibited in Futurist-sponsored show in

Rome. Officially joined Futurist movement 1915. Work REFERENCES:

tended toward personal version of social realism even while
Pica, Agnoldomenico, Mario Sironi, Milione, Milan, 1955,
member of Futurist group. After World War I style changed;
ill. p. 9
1910's exhibited with Novecento group which sought return
Scheiwiller, Vanni, ed., Piccola antologia di poeti futtiristi,
to nature, traditional techniques and subjects. Died in Milan.
Milan, Al Insegna del Pesce, 1958, ill. opposite p. 96
Read, Modern Painting, 1959, p. 366, ill. p. 113
Archivi del futurismo, vol. 2, no. 4, p. 390, ill. p. 372
Winston, Atijourd'hui, 1962, ill. p. 10
Baro, The Collector in America, 1971, ill. p. 181

W-z8

The ambivalence of Sironi's loyalities is brought out in this

stfong, rhythmic drawing. On one hand, the artist leans

toward a Cezanne-inspired analysis of solid form similar to

that pursued by Leger. On the other, he seeks to suggest
in these quasi-automata, the Futurist continuum of motion.
Yet the subtle chiaroscuro of this drawing evokes the
moonlit unreality of a proto-Dada or Pittiira Metafisica
nightmare.

194
 1

io6. MARIO SIRON!

Man on Motorcycle. 1918

Collage of newspaper and oil on paper, 9!,^ x 6V4"

l.r. "Sironi"

PROVENANCE:
II Milione, Galleria D'Arte Moderna, Milan
Winston Collection, 195

EXHIBITION:

Indiana University, 1971, Reflection, no. 133, p. 80, ill. p. 81

REFERENCE:
Archil'! del juturismo, vol. 1, no. 69, p. 391, ill. p. 388

W-3Z

155
 107- FRANK STELLA
Sketch Red Lead. 1964
Oil on canvas, 55 x 40", shaped canvas

On stretcher "Sketch Red Lead 1964. F. Stella"

PROVENANCE:
Frank Stella b. 1936 the artist
Galerie Lawrence, Paris, 1964
Born Maiden, Massachusetts. 1950-54 at Phillips
in Winston Collection, 1964
Academy, Andover, Massachusetts with Hollis Frampton
W-Z27
and Carl Andre; 1954-58 at Princeton, studied there in
William Seitz's open painting studio and with Stephen
Greene. Early works influenced by Abstract Expressionism
and Jasper Johns. Personal style began to emerge with
Black Series, 1958. i960 included in 16 Americans
exhibition, the Museum of Modern Art; first one-man
exhibition Castelli Gallery, New York. 1961 first trip to
Europe. 1964 included in 32nd Venice Biennale; Shaped
Canvas exhibition at Guggenheim Museum. 1965 trip to

Los Angeles; South America. 1967 designed costumes and

sets for Merce Cunningham's Scramble. 1970 one-man
exhibition. Museum of Modern Art, New York.

196
 1

io8. YVES TANGUY

Shadow Country (Terre d'ombre). 1917

Oil on canvas, 39 x 31%"

l.r. "Yves Tanguy. iy"

PROVENANCE:
Yves Tanguy 1900-1955 Galerie Rive Gauche, Paris
Winston Collection, 195
Born in Paris. 1918 joined Merchant Marines and travelled EXHIBITIONS:
to South America and Africa. 1910 formed lasting
Cranbrook, 1951, no. 53
friendship with film-maker and poet Jacques Prevert. 1923
University of Michigan, 1955, no. 70, p. 16 ill.
started painting, inspired by seeing a work by de Chirico.
The Museum of Modern Art, New York, September 6-
Painted stark landscapes probably inspired by Brittany
October 30, 1955, Yves Tanguy— A Retrospective, ill. p. 15
where he vacationed as a child. By 1927 had met Andre
D.I. A., 1957-58, no. 105, p. 76, ill. p. 80
Breton and joined Surrealist group, exhibiting with them
D.I.A., 197^-73
thereafter. Early 30's after trip to Africa, forms shifted from
vegetal to mineral: "boneyard" images, chains of indeter- REFERENCES:
minate beings in infinite landscapes. 1939 upon outbreak
Read, Herbert, Surrealism, Harcourt-Brace, London, 193S,
of War, to United States. 1940 married American Surrealist,
pi. 89
Kay Sage. 1941 moved to Woodbury, Connecticut.
Canaday, John, Mainstreams of Modern Art, 1959, no. 677,
ill- P- 534
Matisse, Pierre, ed., Yves Tanguy: A Summary of his Work,
New York, 1963, no. 64, ill. p. 60
Goldwater, Space and Dream, 1967, ill. p. 77

W-73
 109. MARK TOBEY
Battle of the Lights. 1956

Gouache on paper, 44 X 35 1/2"

l.r. "Tobey / 56"

PROVENANCE:
Mark Tobey b. 1890 the artist
Willard Gallery, New York
Born in Centerville, Wisconsin. 1906-09 attended Art Insti- Winston Collection, 1958 '

tute of Chicago. 1911 to New one-man

York. 1917 first
EXHIBITIONS:
exhibition Knoedler Gallery. 1918 converted to Baha faith. i

Met Janet Planner, Marcel Duchamp. 1922-Z5 Seattle. 1923 The Solomon R. Guggenheim Museum, New York, March

studied Chinese brush painting. 1925-26 travelled to Europe 26- June 7, 1957, Guggenheim International Awards.
and Near East. 1927-29 lived in Seattle, Chicago, New York.
Exhibited at Musee National d'Art Moderne, Paris,
1931-38 taught in London. 1934 to Orient, studied Japanese
November 28-December 15, 1956
calligraphy in Zen monastery. 1935 developed "white writ-
Museo Nacional des Artes Plasticas, Mexico City, June 6-

ing" of mature
August 24, 1958, First hiter-American Biennale Exposition
style. 1948, chosen for 24th Venice Biennale;
Award of Painting and Graphic Arts, sponsored by the Instituto
1956 received Guggenheim International for Battle
Nacional de Bellas Artes
of the Lights; 1958 first prize 29th Venice Biennale. i960 to
Basel where he still resides. 1961 received first prize Carnegie
D.I. A., 1962, America?! Paintings and Drawings, no. 195,
p. II, ill. p. 30
International, Pittsburgh. 1968 retrospective Dallas Museum
of Fine Arts.
The Museum of Modern Art, New York, September 12-
November 4, 1962, Mark Tobey, no. 94, p. 109. Travelled to
the Art Institute of Chicago, February 22-March 24, 1963

REFERENCES:

Kuh, Katherine, "Mark Tobey: A Moving Encounter,"

Saturday Kevieiv, October 27, 1962, p. 30
Tillim, Sidney, "Month in Review," Arts Magazine,
vol. 37, no. I, October 1962, ill. p. 51
Baro, Art i?i America, 1967, ill. p. 75

W-49
Joaquin Torres-Garci'a 1874-1949

Born in Montevideo, Uruguay. 1891 returned with family to

Spain; studied drawing at Escuela de Artes y Oficios and
painting with Vinardel. 1891 to Barcelona; studied at
Academia de Bellas Artes, Academia Baixas until 1894 or 95.
Turn of century style decorative; worked with Gaudi. Met
Julio Gonzales in Madrid. 1900 first one-man exhibition at
Salon La Vanguardia, Barcelona. 1909-10 travelled to Brus-
sels and Paris. 1911 settled in Spain; 1915 designed first

wooden toys. Influence of Futurism, Cubism and dynamism

of urban life entered work as more personal style emerged
around 1918. 1920 to New York; 1912 to Europe; lived in

various countries. 1918 met Van Doesburg; 1919 Mondrian,

first Constructivist works. 1930 founded magazine Cercle et
Carre with Seuphor. 1931 wrote Kaisonet nature; 1934 to

Montevideo. 1944 Universalismo Constructivo published;

founded Torres-Garcia Workshop. His blend of abstraction
and representation was extremely influential, particularly

in the United States.

no. JOAQUIN TORRES-GARCIA
Symmetrical Composition. 1931

Oil and aqueous paint on canvas, 48 x 24%"

On reverse u.c. "J. TORRES-GARCIA / MERCEDES i8f

MONTEVIDEO / "CONSTRUCCION" / COL. M. P."

(frame made by the artist)

PROVENANCE:
Manolita P. de Torres-Garci'a, Montevideo
Winston Collection, 1956

EXHIBITIONS:

XXVIII Biennale, Venice, June i6-October zi, 1956, no. 2,

p. 291, ill. no. 94

D.I. A., 1957-58, no. 106, p. 76, ill. p. 78

D.I. A., 1969, Detroit Collects, no. 182

REFERENCES:

Degand and Arp, Aujoiird'hiii, 1957, ill. p. 31

Saarinen, Art News, 1957, p. 65
"The Winston Collection on Tour," Arts, 1958, ill. p. 39
Read, Modern Painting, 1959, no. 91, p. 367, ill. p. 303
Miesel, The Connoisseur, 1968, fig. 6, ill. p. 262

W-86

Z03
 III. ANDY WARHOL
Self Portrait. 1966

Acrylic and silkscreen enamel on canvas, 21% x 22%"

Unsigned

PROVENANCE:
Andy Warhol b. 1928? the artist
Leo Castelli, New York
Born in Cleveland, Ohio. 1945-49 studied pictorial design at Winston Collection, 1967 ,

Carnegie Institute of Technology (now Carnegie-Mellon

EXHIBITIONS:
University). 1949 settled in New York; worked incommer-
cial design; first commercial work published in Glamour University of Michigan, 1969, Prints from The Collection of
Mrs. Lydia Winston Malbin
magazine. 1957 Art Directors Club Medal for giant shoe
Krannert Art Museum, 1969, Extensions, p. 31
advertisement. 1960-61 began paintings with imagery openly
derived from comic strips and advertisements. 1963 began
Pasadena Art Museum, May 12-June 21, 1970, Andy Warhol.
making films. Preoccupation with repetition, boredom and,
Travelled to Museum of Contemporary Art, Chicago, July

in the mid-60's, with morbid images. Major innovator in

4-September 6, 1970; Whitney Museum of American Art,

novels, cinema, mixed-media fusions of music, film and

May I -June 20, 1971

dance, as well as in graphic art. Lives and works in New York. REFERENCES:

Lytle, Robert, "Looking For Reality? . . .," The Michigan

Daily, March i, 1969, ill.

Glueck, Grace, ". . . Or, Has Andy Warhol Spoiled Success?,"

The New York Times, May 9, 1971, ill. p. 23

W-104

204
Umberto Boccioni

DRAWINGS AND PRINTS

The following checklist of Boccioni drawings and prints is
drawn from Joshua C. Taylor's The Graphic Work of
Umberto Boccioni, The Museum of Modern Art, New York,
1961. That catalogue lists almost all Boccioni's graphics,
and contains all those in the Winston/Malbin Collection.
Each entry is marked with the Taylor catalogue number
(T-oo) and the Winston/Malbin Collection number (W-oo).
Revisions in dating, grouping and titles have been made by
Marianne W. Martin.
 DRAWINGS 116. Standing Nude Girl. c. 1907

112. Young Man on the Bank of a River. 1902?

Soft Pencil on ivory bristol board, 16% x 7"
l.r. "Umberto Boccioni"
Black chalk with traces of red and green chalk with white
T-22; W-130
gouache on buff wove, 11% x 8%"
l.r. "B902"(?) 117. Study of an Arm with Hand Resting on the Shoulder, c. 1907
T-i;W-i42 Pencil on white wove, 9% x 5%"
Verso: Study of a Wagnerian Scene {?). c. 1908 l.r. "Umberto Boccioni"
T-23;W-x63
Unsigned
W-321 118. Study of Two Hands and Forear7ns. c. 1907

113. Study for "Beata Solitudo." 1907 Pencil on buff wove, 5% x9%"
l.r. "U Boccioni"
Pencil on brown wove with blue-gray thread, 13V2 x 8V4"
T-Z5;W-x35
l.r. "Umberto Boccioni/907"
T-18; W-203 119. Study for "Landscape with Four Peasants at Work." 1907-08

Verso: Summary Sketches. 1907 Pencil on white wove, 4% x 5

%"
"UB"
l.r.
Pencil
T-6; W-X78
Unsigned
120. Head of a Bull. 1907-08
114. Study for "Beata Solitudo." 1907
Pencil on white wove, 6V4 x 4%"
Pencil, with graffiti in pen and India ink, on white wove,
l.r. "Boccioni"
73/8 X 45/8"
T-8; W-X46
"U Boccioni"
l.r.

T-19; W-X73E Verso: Body of a Bull. 1907-08

Pencil
115. Pianist and Listener, c. 1907
1.1. "U. Boccioni"
Pen and brush with black ink, 7 x 7I4"
l.r. "Boccioni"
T-13; W-162

114 116

2.08
izi. Study of a Bull's Body. i^o-/-o8 124. Study for "Lombard Landscape: Rural Symphony." 1908

Pencil on white wove, 4V2 x 6Vs" Pencil on white wove, 6Ve. x 4V2"
I.r. "Boccioni"; I.e. "UB" I.r. "Umberto Boccioni"
T-ii;W-X4 T-113; W-X24

Verso: Study of a Bull's Forelegs. 1907-08 Verso: Studies tvith Script

Pencil Pencil
Unsigned Unsigned

122. Study of a Bull's Forelegs. 1907-08 125. Study for "Lombard Landscape: Rural Symphony." 1908

Pencil on white laid, 5'/^ x 4" Pencil on white wove, 6% x 4I4"

I.r. "UB"/ "Boccioni" u.l. "B"; I.r. "Boccioni"
T-12; W-X5 T-ii4;W-x3i

Verso: Sketch of a Bull's Head. 1907-08 Verso: Detail of a Tree Trunk

Pencil Pencil
Unsigned I.r. "Boccioni"

123. Study for "Lombard Landscape: Rural Sy?npho?iy." 1908 126. Study of Trees ivith Tivo Kneeling Figures and Urn. c. 1908
Pencil on white wove, 4I4 x 6'/^"
Pencil on white wove, 4I/2 x 6%"
I.r. "Boccioni" "UB"
I.e.
T-7; W-xia T-123; W-X75

Verso: Woman Seen from the Back; Architectural Detail

127. Sheet of Studies luith Sketch of Windoiv and Foliage, and
ivith Notation. Study of Arm. c. 1908
Pencil
Pen and black ink on white laid, 5 % x 7%"
Unsigned I.r. "Boccioni"
T-66; W-X69

•i-r'

&:,-

119

L--

117

209
128. Seated Woman; Study for "The Story of a Seamstress." 1908

Pencil on buff wove, 7x6% "

l.r. "Umberto Boccioni"
T-33;W-X30

Verso: Graffiti

Pencil
Unsigned

129. Head of a Young Woman; Study for "The Story of a

Seamstress." 1908

Pencil on buff wove, 6V2 x 6V2" 133

l.r. "Boccioni"
T-34; W-196

130. Man Confronting Spectre of a Woman, c. i^oS HvTit-v^^'^ ~

Pen and brown ink on buff wove, jVg x 4I4"

l.r. "Boccioni"
T-37; W-X96

Verso: Sheet of Studies with Figures

Pen and brown ink

Unsigned

131. Embracing Couple on a Cloud over a Lake with Floating

Heads. 1908

Pencil, pen, brush with India ink and wash on white wove,
65/8x43/4"
u.r. "Quanto c'e di male nella felicita

T-38; W-X20

132. Kneeling Man; Study for "The Dream: Paolo and

Francesca." 1908

Pencil on white wove, 9% x ii%"

l.r. "Boccioni"; u.r. and 1.1. "I fidanzati"

T-36; W-X74
134
Verso: Fragment of a Page with Arithmetical Figures, etc.

Pencil
Unsigned

133. Sheet tvith Three Studies of a Reclining Nude, and a Reclin-

ing Couple; Study for "The Dream: Paolo and Francesca."
1908.

Pencil, pen and black ink with blue and ochre wash on
white ruled paper, 6% x I2V^"
"Umberto Boccioni/908"
l.r.

T-39;W-x87

134. Agitated Crowd Surrounding a High Equestrian Monument.

Pencil, pen, brush and India ink on white wove, 14I4 x 91/2"
"Umberto Boccioni/908"
u.r.

T-55;W-x8

Verso: Fragment of a City Plan

Pencil
Unsigned
 135- Kneeling Allegorical Figure; Study for a Decorative Page 138. Boccioni's Mother in Bed. 1908
Heading. 1908 x 6"
Pen and black ink on white wove, 7%
Pen, brush and black ink over pencil on tan wove with gray- "Umberto Boccioni"
l.r.

blue threads, 9Y4 x 7%" T-47; W-171

l.r. "Boccioni"
139. Boccioni's Sister in a Shawl Writing, c. 1908-09
T-56; W-204
Pen and black ink on tan wove, 7V2 x 5%"
136. Allegorical Figure with Ledger; Study for a Decorative l.r. "Boccioni"

Page Heading. 190S T-49; W-173

Pen and black ink over pencil on white bristol board, 9% x
1 1 '74"
140. Sheet of Studies with Bust of a Woman and Two Figure

Unsigned Compositions, c. 1909

T-58; W-20i Pencil and India ink, 6I/2 x 7%"

I.e. "Boccioni"
137. Study for "Allegory of the Nativity." 1908
T-5i;W-X7i
Pencil, pen, brush and India ink on white wove, 9% x 6%"
l.r. "UB"
141. Old Woman Eating, c. 1908-09

T-6i;W-x72 Pen and ink 01

l.r. "Boccioni"
Verso; Graffiti.
T-72;W-i9i
Pen, brush and India ink
Unsigned

138 142
142.. Figure of an Old Woman, c. 1909 147. Landscape with Geese, c. 1909

Pencil on white wove, 7 x 2.%" Pencil and pen and black ink on buff laid, 5 % x ioVt'
l.r. "Boccioni" l.r. "Boccioni"
T-79;W-x38 T-iz5;W-i67

143. Woman Leaning on a Chair (Boccioni's Sister), c. 1909 148. Street ivith Houses, c. 1909

Pencil on white wove, 15% x 145/8" Crayon on white wove, 6% x 41/2"

"UB"
I.e. l.r. "Boccioni"
T-68;W-xi5 T-1S9; W-X70

144. Study of a Woman in a Loose Robe. c. 1909 Verso: Unidentifiable Fragment

Pencil on buff wove, 16Y4 x 14%" Crayon

"UB"
I.e. l.r. "UB"
T-69;W-ii7
149. Head of a Workman luith Cap. c. 1909
145. Head of a Horse with Blinkers, c. 1909 Pencil on buff wove, 61/2x4%"
Pen and India ink on white wove, 6Vs x 4" 1.1. "U. Boccioni"
l.r. "Boccioni" T-80; W-zoe
T-67; W-X52
Verso: Summary Compositional Sketch
146. Landscape with Leafless Tree. c. 1909 Pencil
Pencil on buff wove, 5% x jYn" Unsigned
l.r. "Boccioni"
150. Standing Workman with Cap. c. 1909
T-114; W-X73 B
Pencil on white wove, 7x3%"
l.r. "UB"/"Boccioni"
T-81; W-X39

143 150 151

151 Buck of a fashionably Dressed Woman, c. 1909

Pencil on ivory wove, 6% x 4'^"

l.r. "Boccioni"
T-87; W-X65

Verso: Man tvith a Briimned Hat.

Pencil
Unsigned

152.. Workman from the Rear. c. 1909-10 /

Pencil on white wove, ^Vs >^ 4V2"
1.1. "U. Boccioni"
T-82.; W-X93

Verso: Head of a Horse

Pencil
Unsigned

153. Back of a Workman in Full Trousers, c. 1909-10

Pencil on white wove, 6% x 3%"

I.l. "Boccioni"
T-84; W-xSS

Verso: Profile of a Standing Woman.

Pencil
l.r. "UB"

154. Standing Workman tvith Arms Folded, c. 1909-10

Pencil and crayon on white wove, 7 x 4'/2" 152-

"UB"
1.1.

T-85;W-xzS

Verso: Study of a Decanter and Stopper

Pencil
Unsigned

155. Rear of a Walking Figure, c. 1909-10

Pencil on white wove, 7'^ x 4V2"

l.r. "UB";u.r. "L0I6"
T-86;W-i79

156. Head and Nude Torso of a Workman, c. 1909-10

Pencil on white wove, 6 x 4I4 "

l.r. "U. Boccioni"

T-9i;W-X37

Verso: Fragment of a Sketch of a Reclining Woman

Pencil
Unsigned

153

213
157- Workman Wearing a Derby, Inverted Head of Man with 161. Seated Male Nude. c. 1909-10
Cap Lower Right, c. 1910 Pencil on white wove, 15 x 10^4 "
Pencil on white wove, 6% x 3%" u.r. "UB"; l.r. "Boccioni"
1.1. "Boccioni" T-97;W-i38
T-90; W-X49
Verso: Seated Woman with Dark Blouse
Verso: Untitled Pencil
Pencil l.r. "UB"
Unsigned
162. Harnessed Horse with Feedbag. c. 1909-10
158. Walking Man in a Rumpled Suit. c. 1910 Pencil on buff wove, 7 x 9V8"
Pencil on white wove, 6I/2 x 41/8" I.e. "UB"
l.r. "Boccioni" T-104; W-X44
T-93;W-i78
Verso: Rear and Profile of Harnessed Horse
159. Study for "Giants and Pygmies"; Dramatic Composition of Pencil
a Tree. c. 1909-10 Unsigned
Pen and brownish-black ink on white wove, 6V2 x 4%"
163. Head of a Horse with Feedbag. c. 1909-10
l.r. "Boccioni"
T-40; W-xzi Pencil on white wove, 7% x 41/2"

l.r. "Boccioni"
160. Reclining Male Nude. c. 1909-10 T-105; W-X32
Pencil on buff wove, 1 1 % x 7V2"
Verso: Bust of a Man
LI."Umberto Boccioni"
T-95;W-i39 Pencil
Unsigned
Verso: Graffiti and Study of a foreshortened Hand
Pencil
Unsigned

162

157

Z14
i64- Head of a Woman, c. i<}09-io 169. Wheel Barroiv. 1909-10

Pencil on buff wove, fi'/g x 45/8" Black, white and orange chalk on paper toned dark brown,
l.r. "Boccioni" 131/2x115/4"

T-IZ7; W-143 l.r. "Boccioni"

T-i33;W-zi3
Verso: Head of a Woman
170. Sheet of Studies with Two Portraits of a Man, related to
Pencil
Bookplate, "In Letizia Ben Fare." c. 1910
Unsigned
Pencil and pen and India ink on white wove, 6% x 4V&"
165. Head of a Woman (Boccioni's Sister). 1909-10
l.r. "Boccioni"
Pencil on white wove, 4% x 4%" T-44; W-X88
l.r. "Boccioni"
T-129; W-169

Verso: Graffiti

Pencil
Unsigned

166. Young Woman Seiving. 1909-10

Pencil on rough white wove, 9% x 6%"

l.r. "U. Boccioni"
T-ii8;W-i7i

167. Seated Woman Reading. 1909-10

Black, white and orange chalk on paper toned dark brown,

i5%xi3%"
l.r. "Boccioni"
T-131; W-ziz

168. Seated Woman Leaning on her Elboiv. 1909-10

Black, white and orange chalk and black ink on paper toned
dark gray, is^gx 131/2"

l.r. "Boccioni"
T-i3z;W-iZ5

.M'

'Wl^.

166 169

ZI5
lyi. Head of a Woman, possibly related to Bookplate,

"In Letizia Ben Fare." c. 1910

Pencil on white wove, 6% x 4%"

l.r. "Boccioni"
T-45;W-x89

lyz. Study of a Young Woman with Arms Raised, and of a

Female Face; related to Bookplate, "hi Letizia Ben Fare."
c. 1910

Pencil on white wove, 6^4 x 41^"

1.1. "Boccioni"
T-46; W-144

Verso Head of a
: Woman
Pencil
Unsigned

173. Sheet of Studies luith Three Landscapes and Two Allegorical

Figures, c. 19 10

Pencil, pen and India ink on buff wove, 6V2 x 6%"

l.r. "Boccioni"
T-S5;W-X28

174. Two Women Walking in Street Dress, c. 1910

Pencil on white wove, 6% x 4%"

l.r. "Boccioni"
T-ii9;W-x9

Verso: Ttvo Sketches of a Bust of a Workman, One Inverted.

176
Pencil
Unsigned

175. Two Standing Women in Street Dress, c. 1910

Pencil on white wove, 61/2 x 4V^"

l.r. "Boccioni"
T-iio;W-xi6

Verso; Man in a Short Coat, and Study of a Paneled Door

Pencil
l.r. "U Boccioni"

176. Young Woman Reading (Ines). 1910

Charcoal over gray wash on rough white wove, 18% x 13%"

l.r. "U. Boccioni"
T-i36;W-i23

177. Self Portrait. 1910

Gray wash and pen with black ink on white wove,

loy, x8y4"
l.r. "21-I-910 / U. Boccioni"
T-I39; W-IZ2

177

2.16
178. Curly Haired Child (Fianimetta). i^io

Pencil on white ruled paper, iz% x 8%"

I.r. "Boccioni"
T-141; W-X17

Verso: Curly Haired Child (Fiammetta). 1910

Pencil on white ruled paper

Unsigned
T-141 a; W-xioy

179. Curly Haired Child (Fiammetta). 1910

Pencil on two joined sheets of ruled white paper,

16X4 X iz%"
I.r. "Boccioni"
T-i43;W-x6

Verso: Cursory Sketch of Figure (?).

Pencil
Unsigned

180. Curly Haired Child (Fiammetta). 1910

Pencil on ruled white paper, 8V4 x 8%"

Unsigned
T-144; W-x6i

Verso: Fragment

Pencil
Unsigned
180
181. Bust of a Woman with Black Hat. c. 1910

Pencil on white wove, 7 x 4%"

I.r. "Boccioni"
T-14S; W-X41

Verso: Walking Horse tvith Feedbag

Pencil
I.r. "UB"

i8z. Study for "Modern Idol." 1910

Pencil on white wove, 5% .x 5 14"

I.r. "Boccioni"
T-148; W-X33

183. Woman Reclining, c. 1910

Pencil on tan wove, 9 /•g x 9"

"UB"
I.r.

T-i5i;W-zoo

184. Man Shoeing a Horse. 1910

Pencil on white laid, 5% x 4'/^"

I.r. "Boccioni"
T-i5i;W-X90

Verso: Same Figure from the Front

Pencil
Unsigned

Z17
185. Study of the City ivitli Overpass, Telephone Pole and Verso: Horses and Figures in a Landscape. 1910
Streetcar. 1908-10 Pen and India ink
Pencil on ivory wove, 7% x 51/2" l.r. "Boccioni"
l.r. "Boccioni" T-158 a; W-X103
T-108; W-X73 C
190. Man Leading a Horse. 1910
18S. The Bridge of Gamboloita. 19 10 Pencil on white wove, 41/2 x 7"
Charcoal, pen and ink on buff wove, lo^s x 9%" l.r. "Boccioni"
l.r. "Boccioni/ponte di Gamboloita visto/dalla altalinea T-159; W-X42
ferroviaria/ sufficientemente interessante/mattina 28 maggio
Verso: Man
1910/abbastanza nuovo"
T-II2; W-xSo Pencil and crayon
1.1. "UB"
187. Crowd in Front of Corner Building. 1910
191. Composition Study for "The City Rises." 1910
Crayon on white wove, 7 x 9"
"U Boccioni"
l.r.
Pencil on white wove, 3 % x 6"
T-i54;W-x85 l.r. "UB"
Nos. 187-193 are preliminary sketches for The City Rises T-161; W-40A

188. Harnessed Horse. 1^10 Verso: Unidentifiable Subject

Pencil on white laid, 4% x 5

%" Pencil

l.r. "Boccioni" Unsigned

T-157; W-X43
192. Composition Study for "The City Rises." 1910
Verso: Muzzle and Neck of Horse Pencil on white wove, 5'/! x 8^4 "
Pencil l.r. "Boccioni"
Unsigned T-162; W-X34

189. Three Horses Tended by Men; Stone Pavement. 1910

Pen and brush with India ink on white wove, 41/2 x 6V4"
Unsigned
T-158; W-.X97

187

218
 190

^- k-_
^^a^ J
191 192
193- Two Composition Sketches for "The City Rises" and
Two for a Scene of an Urban Croivd. 1910
Pencil on white wove, 5V2 x 7%"
I.r. "Boccioni"
T-163; W-X40

Verso: Group of Figures Related to Scene of Urban Croivd.

1910

Pencil
Unsigned
T-i63a; W-xioi

194. Composition Sketch for "Mourning." 1910

Pen and ink on white wove, 6% x 7%"

I.r. "Boccioni"
T-iS5;W-x84

195. Study for " Mourning." 1910

193
Pencil, charcoal, and blue and orange pencil with gray wash
on buff wove, 9% x 18 V?"
I.r. "Boccioni"
T-167; W-X54

196. Sheet of Studies for "Mourning." 1910

Pen and ink on double-ruled white wove, SVg x 8'/^"

"UB"
I.r.

T-16S; W-X98

197. Study for "The Laugh." 1910-11

Pencil on white wove, 4% x 6"

I.r. "Boccioni"
T-i73;W-X9i

198. Study for "The Laugh." 1910-11

Pencil on white wove, 41/2 x 5 Y%"

I.r. "Boccioni"
T-174; W-X73 F

Verso: Man with Moustache

Pencil
Unsigned 195

199. Study for "The Riot." 1911

Pencil on white wove, 6Vs x 6Vs"

I.r. "Boccioni"
T-178; W-XZ3

zoo. Tu'o Workmen; Study for "The Street Pavers." 19 ir

Pencil on white wove partially discolored, 55^3 x SVg"

I.r. "Boccioni"
T-i79;W-6i-58-3ioA
 197
196

199
 " 11 11

20I. Man Laying Pai'ing Stones: Study for "The Street Pavers. Lio. Head of Pietro Mascagni. 191Z
1911 Pencil on white stationery bearing the letterhead of the
Pen and black ink on white wove, 5% x 814" Savoy Hotel, London, 8 x loVs"
l.r. "Boccioni" 1.1. "Boccioni"; l.r. "Mascagni"
T-i8o;W-6i-58-3ioB T-203;W-i53

20Z. Portrait of a Young Man (Vico Baer?). 1911 Verso: Caricatures of Pietro Mascagni and Queen
Victoria. 19 12
Pencil and gray wash on ivory wove, 11% x 9%"
l.r. "1911" Pencil

T-i8i;W-209 I.e. "Boccioni"; 1.1. "La regina d'inghilterra"; u.r. "Londra

marzo 1912/Mascagni futurista"; l.r. composer's autograph

203. Boccioni's Sister Leaning on her Hand. 1911
T-203a;W-3i2
Pencil, pen and black ink on white wove, 8^4 x 6%"
l.r. "U. Boccioni"
T-i82;W-i70

204. Planar Study of a Woma?i's Head (Inesf). 1911

Pencil on white wove, 12% x 9^4

l.r. "Boccioni"
T-i83;W-i35

Verso: Profile of a Face

Pencil
Unsigned

205. Sketch for "Study of Women Amid Houses— Ines." 191

Pencil on white paper, 24 x 19%"

"1911/ U.B."
l.r.

T-i84;W-323

Verso: Study for "States of Mind: The Farewells." 191

Pencil on white paper

l.r. "UB"
T-193; W-132

20S. Bald-Headed Man with Moustache, c. 191

Pencil on discolored white wove, yVs x sVg"

l.r. "Boccioni"
T-i85;W-207

207. Analytical Study of a Woman's Profile. 191

Charcoal on buff wove, 4^8 x 4%"

"Boccioni"
l.r.

T-186; W-X19

208. Analytical Study of Woman Seated on a Divan. 1911-12

Pen and black ink on white paper, 814 x 121/8"

Unsigned: l.r. "La seur [sic] de/par Boccioni" (by artist's

hand)
T-i87;W-X56

209. Drawing after "States of Mind: Those Who Go." 19 12

Black ink over pencil on white wove, 12V2 x 16% "
Unsigned
T-201; W-DIA neg. 10949
III. Boccioni's Mother Sewing, c. i^iz
:*?^<
Pen and black ink on reddisli-tan oiled paper, g'/g x jVi"
Unsigned
T-Z04; \V-184

Verso: Standing Figure of a Wonmn

Pen and brush and black ink
l.r. "Boccioni"

ziz. Old Woman in Full Gown. c. 1911

Pen and hlue-black ink on white wove, 6 x 4'/4"

l.r. "Boccioni"
T-zo5;W-i9Z

Z13. Boccioni's Mother Sewing, c. 191Z

Pen and black ink on reddish-tan oiled paper, 6V4 x fiVs"

l.r. "Boccioni"
T-Z06; W-X95 Z05. (verso)

Verso; Sheet of Studies with Full-faced Head of Boccioni's

Mother, c. 191Z

Pen and brush with black ink

Unsigned
T-Z06 a; W-X104

207 209

223
214- Analytical Study of a Woman's Head against Buildings, 218. Analytical Study of Woman's Head against the Light with

c. 1911 Window Frame. 19 12

Pen and brownish-black ink on white wove, 11% x 8V2" Pen and brownish ink on buff wove, 12% x 8^4 "
l.L "Boccioni" Unsigned
T-188; W-xii T-220; W-X27

215. Bust of Boccioni' s Mother. 1912 219. Head against the Light (Boccioni's Sister). 1912

Pencil on buff laid pasted on white paper, 8% x 6%" Pen and brown ink on buff wove, 5 x 4"
l.r. "Boccioni" u.r. "Boccioni"
T-Z14; W-X48 T-222; W-X68

216. Bust of Boccioni's Mother; Study for "Abstract 220. Study for the Sculpture "Fusion of a Head and a Window."
Dimensions." 1912 1912

Pencil on buff laid pasted on white paper, 8% x 6%" Pen and ink on white wove envelope, 5% x 4%"
l.r. "Boccioni" l.r. "Boccioni"
T-2i5;W-X92 T-Z24; W-X58

217. Analytical Studies of the Head of Boccioni's Mother and

Another Female Head. 19 12

Pencil, pen and India ink on white laid, 61/2 x 8%"

l.r. "Boccioni"
T-2i6:W-xi8

ZI4 2-15

224
 3

211. Analytical Study of the Shoulder and Breast of a

Woman. 191Z
Pencil on white laid, 13 x ^Vi"
l.r. "Boccioni"
T-Z17; 'W-X13

22Z. Group of Seated Men. c. 191

Pen on lined white wove, 7% x 5

%"
Unsigned
T-207; W-1S4

223. Man with Newspaper in a Cafe. c. 1913

Pen and brownish ink on lined white wove, SVs x 5-78"

Unsigned
T-208; W-163

218

223

225
2Z4. Man at a Cafe Table, Paris, c. 1913 228. Head of Boccioni's Mother. 1914-15

Pen and brownish ink on lined white stationery from the Pencil, pen and India ink, and blue-black wash on rough
Taverne de I'Hermitage, SVs x 5%" white wove, ixY^ x 91/2"

l.r. "Boccioni" l.r. "Boccioni"

T-232;W-I74 T-278; W-X25

225. Male Figure in Motion (Towards the Left). 1913 229. Portrait of Silvia. j$i$

Pencil on white wove, 6 x 4V8" Pencil, gray wash, and black ink on heavy tan
T-234; W-X83 paper, 253/8x185/8"
u.r. "Boccioni"
226. Head of a Man; Study related to Collage "Dynamism of a
T-293; W-131
Man's Head." 1914
Pen and brownish-black ink on lined stationery from the 230. Portrait of Boccioni's Mother. 1915-16

Ristorante Savini, Milan, 8V2 x 5I4 " Black chalk, red, green and blue watercolor on buff
l.r. "Boccioni" wove, 25 X 2oi/4"

T-279; W-175 l.r. "Boccioni"

T-295;W-i28
227. Caricature of Portly Man with Cigarette, c. 1914

Brush and black ink on white laid, 12 x 8%"

l.r. "Boccioni"
T-280; W-208

2.24 zi8

zz6
2.Z9 230
 PRINTS

231. Impression of Venice. 1907

Etching printed in brownish black, 3% x 55/8"

l.r. "U. Boccioni"

T-297; W-133

23 2. Boccioni' s Mother Crocheting. 1907

Etching and drypoint printed in brownish black on

white wove, 145/8 x 12V8"
l.r. "U Boccioni"; on plate I.e. "1907" (printed in reverse)

T-299; W-xiz

233. Woman Kestirtg on Sofa (Gisella). 1907

Etching and drypoint in brownish black on cream

wove, 95/8 x 13'/"
l.r. "U Boccioni"
T-3015; W-xioo

234. Lovers and Siiuins in a Landscape, c. 190S

Etching printed in colors, 8'/, x i2Vs"

l.r. "Boccioni"
T-302;W-i58A

235. The Kimono; Portrait of hies. c. 1909

Etching and drypoint printed in brownish black on

vi'hite wove, 7 x 5'/2"

l.r. "Umberto Boccioni"; on plate l.r. "Boccioni," on right

sleeve"INES"
T-303; W-160

23S. Sheet of Studies with Five Portraits, c. 1909

Etching and drypoint printed in brownish black on

white wove, 7 1/1 x ii%"
"Umberto Boccioni"
l.r.

T-304; W-xioi L

237. Landscape ivith Industrial Plants. 1909-10

Etching printed in brownish black on white wove, 3% x 6"

l.r. "Umberto Boccioni"
T-3Q7; W-X99

238. Head of ahoy. 11)10

Etching printed in reddish brown on white wove, 5 V2 x $Vi"

l.r. "U Boccioni" on plate 1.1. "1910"
T-3i5;W-X53

239. Woman and Child at the Table, c. 1910

in brown ink on white wove,

Etching printed 5% x gVs"
"Umberto Boccioni"
l.r.

T-3IO;W-2II

240. Boccioni's Mother Sewing, c. 1910

Etching printed in brownish black on white

wove, 5'/) X 4'/2"

l.r."U Boccioni"
T-3l6;W-X2Z
Documents and Miscellany
 DOCUMENTS AND MISCELLANY

GUILLAUME APOLLINAIRE 251. L'hnagination sans fils et les mots en liberie: Manifeste

L'Antitradition futuriste: manifeste = synthese (The Futurist futuriste (Wireless Imagination and Words in Liberty:
241.
Antitradition: manifesto = synthesis), Paris, June 29, 1913
Futurist Manifesto), Milan, May 11, 1913

Pamphlet Pamphlet
11I/2X9I/8" Ill/2X9y8"

252. La splendeur geometrique et mechanique et la sensibilite

GIACOMO BALLA numerique: manifeste futuriste (The Geometric and
242. // Vestito antineutrale: manifesto futurista (Anti-neutral Mechanical Splendor and the Numerical Sensibility:
Clothing, Futurist Manifesto), September 11, 1914 Futurist Manifesto), Milan, March 11, 1914
Pamphlet Pamphlet
JiVixsVa" 111/2x91/2"
243. Rose (W-3S) Contre le luxe feminin: manifeste futuriste (Against Feminine
25 3 .

Wood Luxury: Futurist Manifesto), Milan, March 11, 1920

13x9" Pamphlet
244. Tree (W-37) 111/2x9/8"
Wood
GINO SEVERINI
13 X 10"
254. Documents pertaining to exhibition at Galleria Futurista,
245. Palette and Two Brushes, c. 1925 (Made by the artist)
Rome, 1913 (W-9)
palette 8V2 x 9"; brushes 91/2 x i", 101/2 x i"
Pencil and watercolor
UMBERTO BOCCIONI m X 5/2"; 7'/2 X sYa"; 71/4 X 51/2"

246. Palette

295/8 X 17"

CONSTANTIN BRANCUSI
247. Two Sketches for the base of the Blond Negress, Paris,
1952 (G-757)
Pencil
8 X 31/2"

ALEXANDER CALDER
24S. Three Sketches for Mobile, 1949 (G-6z2)
Ink and pencil
103/4 X SVa" each

MARCEL DUCHAMP
249. Surrealism in 1^47. {W-130)
Book cover
loYxG X 9 X 3"

F. T. MARINETTI
250. Manifeste du futurisme (Futurist Manifesto), Le Figaro,
Paris, February 20, 1909
Pamphlet
111/4 X 18"

230
Documentation

131
DOCUMENTATION Exhibitions

E.x'hibitions which were composed partially of works from

the Winston Collection are indicated by an asterisk. All

other exhibitions listed were drawn entirely from the

Winston Collection.
'
The Detroit Institute of Arts, March 6-30, 1947, A Loan
Books Exhibition of French Paintings, XVII-XX Centuries.
Exhibition organized by Paul L. Grigaut.
Taylor, Joshua C, "Harry Lewis Winston: Futurist and
Museum of Cranbrook Academy of Art, Bloomfield Hills,
Other Twentieth-Century Art," Great Private Collections,
Michigan, November 8-25, 1951, Mr. and Mrs. Harry Leivis
ed. Douglas Cooper, introduction by Kenneth Clark,
^iristo7t Collection. Catalogue foreword by E.I.G.
Macmillan, New York, 1963, pp. Z92.-303.
The Llniversity of Michigan Museum of Art, Alumni
Baro, Gene, "Futurism Preserved: Lydia Winston Malbin,"
Memorial Hall, Ann Arbor, Michigan, October 30-
The Collector in America, compiled by Jean Lipman and the
November 27, 1955, 20th Century Painting and Sculpture
editors of Art in America, introduction by Alan Pryce- Jones,
from The Collection of Mr. and Mrs. Harry Leivis Winston.
Viking Press, New York, 1971, pp. 180-189.
Catalogue te.xt by Jean Paul Slusser.

Albion College, Albion, Michigan, April 10-25, 1956,

Selections from The Collection of Mr. and Mrs. Harry
Leivis Winston, Birmingham, Michigan. Exhibition
Articles organized by Vernon Bobbit; checklist.

Saarinen, Aline B., "Collecting Modern Masters on a

The Detroit Institute of Arts, September 27-November 3,

Master Plan," Art Neivs, vol. 56, no. 6, October 1957, Modern Art— Paintings, Sculpture and
1957, Collecting

pp. 32-34, 64-66.

Drawings from The Collection of Mr. and Mrs. Harry
Leivis Winston. Exhibition organized by Paul L. Grigaut and
Degand, Leon and Jean Arp, "La Collection H[arry] et
Elizabeth Payne. Catalogue texts by Josef Albers, Jean
L[ydia] Winston au Musee de Detroit," Attjonrd'htii, no. 15,
Arp, Alexander Dorner, Benedetta Marinetti, Elizabeth
December 1957, pp. 30-31.
Payne, Antoine Pevsner, E. P. Richardson, and Harry and
"The Winston Collection on Tour," Arts, vol. 31, no. 4, Lydia Winston. Circulated by Institute of Contemporary
January 1958, pp. 34-39. Arts, Boston to Virginia Museum of Art, Richmond,
Winston, Lydia Kahn and Harry, "Collecting Modern Art," December 13, 1957-January 5, 1958; San Francisco Museum
Vassar Alumnae Magazine, vol. XLIII, no. 4, March 1958, of Art, January 23-March 13, 1958; Milwaukee Art
pp. 10-13. Reprinted from The Detroit Institute of Arts Institute, April ii-May 12, 1958; Walker Art Center,
Catalogue, 1957-58. Minneapolis, June 13-August 3, 1958.

Edwards, Hugh, "Umberto Boccioni," The Art Institute of The Art Institute of Chicago, March 14-April 27, 1958,
Chicago Quarterly, vol. LII, no. 1, April i, 1958, pp. Z5-28. Boccioni:An Exhibition of Drawings and Prints from The
Mr. and Mrs. Harry Leivis Winston Collection. E.xhibition
Mellquist, Jerome, "La Collection Winston," XXe Siecle,
no. II, Christmas 1958, n. p. Double issue.
organized by Hugh Edwards and catalogue essay by
Marianne Martin.
Canaday, John, "True Story, Happy Ending— 100 Draw-
Grand Rapids Art Museum, Michigan, December 1959-
Their Trip from Verona to Michigan," The
ings: New 3,

York Times, Sunday, July 23, 1961, p. 10. January 2, 1960, Exhibition of Greetings From
Contemporary Artists from The Winston Collection.
Winston, Lydia Kahn, "Reflections on Art Collecting as a
Creative Process," Wayne The Art Gallery of Windsor, Willistead Park, Windsor,
State University, November
Ontario, February 8-26, i960, Graphics and Drawings from
19, 1961. On the occasion of a Special Convocation.
The Winston Collection. Exhibition organized by
Winston, Lydia Kahn Harry Lewis, "Le Futurisme,"
et
Kenneth Saltmarsh; checklist.
Aujourd'hui, no. 35, February 1962, pp. 4-13.
'^

The Detroit Institute of Arts, February 8-March 6, i960.

Francoeur, George, "The Winston Collection," Chicago
Graphic Arts in Private Detroit Collections. Exhibition
Mid-West Art, vol. 3, no. 3, March 1967, pp. 7-9. organized by Paul L. Grigaut.
Baro, Gene, "Collector: Lydia Winston," Art in America,
Palazzo Reale, Milan, April 30-June 26, i960, Arte italiana
vol. 55, no. 5, September-October 1967, pp. 72-75.
del XX secolo da collezione americane. Travelled to Galleria
Miesel, Victor H., "The 'heart' of The Winston Collection, Nazionale d'Arte Moderna, Rome, July 6-September 18,
Birmingham, Michigan," The Connoisseur, April 1968, i960. Exhibition organized by James Thrall Soby,
pp. 259-i63- International Council of The Museum of Modern Art, New

232
 York. Special New York showing at Santini Brothers J. B. Speed Art Museum, Louisville, Kentucky, January 7-

Warehouse, October 24 and 26, i960. February 2, 1964, Leaders of Modern Art—Pritits Lent by
Mr. and Mrs. Harry L. Winston. E.xhibition organized by
Grand Rapids Art Museum, Michigan, March i-April 7,
Franklin Page; checklist.
1961, Graphics and Drawings from The Winston
Collection; checklist. J. B. Speed Art Museum, Louisville, Kentucky, February
"
The Museum of Modern Art, New York, May 31-
4-29, 1964, Modern Prints— France (Lent by Mr. and Mrs.
The Harry L. Winston). Exhibition organized by Franklin
September 5, 19S1, Futurism. In coordination with
Page; checklist.
Detroit Institute of Arts, October i8-December 19, 1961 and
Los Angeles County Museum of Art, January 14- J. B. Speed Art Museum, Louisville, Kentucky, March 3-29,
February 19, 1961. E.xhibition organized and catalogue 1964, Contemporary Prints— Low Countries (Lent by
introduction by Peter Selz. Catalogues Futurism and The Mr. and Mrs. Harry L. Winston). Exhibition organized by
Graphic Work of Umberto Boccioni by Joshua C. Taylor. Franklin Page; checklist.

Flint Institute of Arts, Flint, Michigan, June 25-August i, The Arts Council of Great Britain, London, September 19-
1961, Graphics and Draivings from The Winston Collection. October 17, 1964, Umberto Boccioni: iS8z-i^i6. An Arts
Exhibition organized by Dr. G. Stuart Hodge; checklist. Council exhibition of his graphic art from the collection of
StedelijkMuseum, Amsterdam, April 19-May 28, 1962, Mr. and Mrs. Harry Lewis Winston of Birmingham,
Umberto Boccioni —Draivings and Graphics by Umberto Michigan. Travelled to City Art Gallery, Manchester,
Boccioni from The Collection of Mr. and Mrs. Harry Leivis October 31-November 21, 19S4; City Art Gallery, Leeds,

Winston. The International Council of The Museum of November 28-December 19, 1964; Art Gallery, Aberdeen,

Modern Art, New York. Exhibition organized by William S. January 2-23, 1965. Catalogue foreword by Gabriel White
Lieberman. Catalogue introduced by Willem Sandberg. and essay by Reyner Banham.
Circulated by The .Museum of Modern Art, New York, to The Bloomfield Art Association, Birmingham, Michigan,
J. B. Speed Art Museum, Louisville, Kentucky, November March 13-23, 19S6, An Exhibition of Posters Designed
2-23, 1962; University of Nevada Student Union, Reno, by 20th Century Artists from The Collection of Mr. and
January 2-23, 1963; Washington University, St. Louis, Mrs. Harry L. Winston. Exhibition organized by Arlen Linn.
Missouri, March 1-29, 1963; Miami Beach Art Center,
Wayne State University, Detroit, April iz-May 2, 1966,
Miami Beach, July 1-25, 1963; Reed College, Portland,
Posters By 20th Century Artists from The Winston
Oregon, September 2-23, 19S3; Arizona State University,
Collection.
Tempe, February i6-March 7, 1964; Western Washington
State College, Bellingham, April 1-22, 1964; San Francisco Kresge Art Center Gallery, Michigan State University,
State College, June 13-August 9, 1964. East Lansing, October 2-30, 1966, Posters by 20th
Century Artists from The Lydia and Harry Lewis Winston
'

The Detroit Institute of Arts, January lO-February 4, 1962,

Collection. Exhibition organized by Paul Love.
French Draivings and Watercolors from Michigan
Collections. Catalogue introduction by Paul L. Grigaut. The Bloomfield Art Association, Birmingham, Michigan,
The November i-December i, 1966, Greetings from the Artists.
'
Detroit Institute of Arts, April i-May 6, 1962,
Exhibition organized by Arlen Linn.
American Paintings and Draivings from Michigan
Collections. Exhibition organized by Paul L. Grigaut. Kresge Art Center Gallery, Michigan State Universit)-, East

The Detroit Institute of Arts, May The

Lansing, March 5-26, 1967, Winston Collection of
'
i-June 6, 1962,
Varied Works of Picasso. Exhibition organized by Personal Greetings from 20th Century Artists. E.xhibition

Franklin Page. organized by Paul Love.

J. B. Speed Art Museum, Louisville, Kentucky, November 7-

The Detroit Institute of Arts, April-May 1967, Exhibition

December 30, 1962, Greetings from The Lydia and Harry of Boccioni Draivings from The Lydia and Harry Lewis
Winston Collection. Exhibition organized by Franklin Winston Collection. Exhibition organized by Ellen Sharp;
Page; checklist. checklist.

The LIniversity of Michigan Museum of Art, Alumni Ohio Wesleyan University, Delaware, Ohio, November 1-30,
Memorial Hall, Ann Arbor, December 11, 1963-February 1967, Greetings from The Winston Collection. Exhibition

1964, Personal Greetings from organized by Richard Wengenrath.

7, Artists to Mr. and Mrs.
Harry L. Winston: checklist. Henry Ford Community College, Dearborn, Michigan,
"
The Detroit Institute of Arts, March 8-April 7, 1963, December 1967-January 1968, Posters from The Winston
The Dutch Contribution to The International Development Collection. Exhibition organized by George Francoeur.

of Art Since 194). Text written and original exhibition First National Savings Bank, Detroit, January 3-March 4,
organized by Dr. Willem Sandberg; D.I. A. exhibition 1965, Posters of the 20th Century from The Lydia and Harry
organized by Paul L. Grigaut. Lewis Winston Collection.

^33
Kresge Art Center, Michigan State University, East Lansing, The Detroit Institute of Arts, February 15-March 15, 1971,

Michigan, February 4-15, 1968, Prints from The Winstoti 500 Posters from The Collection of Lydia Winston Malbin.
Collection. Statement by Lydia Winston Malbin, Bulletin, Exhibition organized by Samuel Wagstaff.
Kresge Art Center, vol. i, no. 5, February 1968. The UCLA Art Galleries, Los Angeles, September 19-
Gilmore Art Center, Kalamazoo Institute of Arts, Michigan, October 31, 1971, Posters from The Lydia and Harry Lewis
November lo-December 15, 1968, Graphics from The Winston Collection/Mrs. Bar/iett Malbin, Birmingham,

Collection of Lydia and Harry Leivis Winston (Mrs. Barnett Michigan. Exhibition organized by Frederick Wight;
Malbin). Exhibition organized by Harry Greaver. checklist.

Catalogue essay by Ellen Sharp. University Art Gallery, Frick Fine Arts Building, University
The University of Michigan Museum of Art, Alumni of Pittsburgh, December 14, 1971-January 16, 1972, The
Memorial Hall, Ann Arbor, February 16- March 16, 1969, Twentieth Century Print as Seen through The Lydia and
Graphics from The Collection of Lydia and Harry Lewis Harry L. Winston Collection (Mrs. Barnett Malbin).
Winston. Exhibition organized by Charles Sawyer; Catalogue acknowledgements by Pamela Pierrepont Bardo
checklist and announcement. and text by Robert Wang.

The Detroit Institute of Arts, May 15-June 22, 19S9, The Toledo Museum of Art, Ohio, April 2-30, 1972, A
Detroit Collects. Exhibition organized by Samuel Wagstaff. Collector's Portfolio: An Exhibition of prints and posters

Krannert Art Museum, College of Fine and Applied Arts, from The Lydia and Harry Lewis Witiston Collection
(Dr. a7id Mrs. Bar?iett Malbin). Exhibition organized by
University of Illinois, Champaign, October iz-November
The Charles Gunther. Catalogue introduction by Otto Wittman
16, 1969, Extensions of the Artist: Prints from
Collection of Lydia and Harry Leiuis Winston (Mrs. Barnett and Norman Thai, Jr.

Malbin). Catalogue introduction by Muriel B. Christison; '

The Detroit Institute of Arts, April 13-May 21, 1972,
reprint of Wayne State University address by Lydia Detroit Collects Prints and Drawings, Catalogue of an
Winston Malbin. Exhibition of Pri7its and Drawings from Six Detroit
The Bloomfield Art Association, Birmingham, Michigan, Collections. Exhibition organized and catalogue
introduction by Ellen Sharp.
January ii-February 8, 1970, Fifty Recent Graphics and
Multiples Loaned by Dr. and Mrs. Barnett Malbin The University of Michigan Museum of Art, Alumni
(The Lydia and Harry Leivis Winston Collection). Memorial Hall, Ann Arbor, May 21-June 18, 1972, Posters
Exhibition organized and catalogue introduction by and Portfolios from The Collection of Lydia and Harry
Arlen Linn. Lewis Wiiiston. Exhibition organized by Charles H. Sawyer;
checklist.
Kresge Art Center Gallery, Michigan State University, East
Lansing, October 3-25, 1970, Contemporary PritJts from The Detroit Institute of Arts, July 18, 1972- April 20, 1973,
The Winston Collection. Exhibition organized by Paul Love; Selections from The Lydia and Harry Lewis Winston
checklist. Collection (Dr. and Mrs. Barnett Malbin). Checklist with
Indiana University Art Museum, Bloomington, February 10- introduction by Frederick J. Cummings.
March zi, 1971, Reflection Thru a Collector's Eye: A The Society of The Four Arts, Palm Beach, Florida,
and drawings from the collection of Lydia
selection of prints February 3-March 4, 1973, Collecting Prints and Sculpture
and Harry Lewis Winston (Dr. and Mrs. Barnett Malbin). . . . in all media. Exhibition organized and catalogue
Exhibition organized by Thomas T. Solley and John introduction by John Gordon.
Nozynski; catalogue essay by Ellen Sharp. Travelled to The
University of Wisconsin, Milwaukee, March 30-
April 30, 1971.

234
The Lydia and Harry Lewis Winston Collection

(Dr. and Mrs. Barnett Malbin)

A LISTING OF THE COLLECTION

Works included in the Guggenheim exhibition are marked
by an asterisk. The listing is arranged alphabetically by

artist and chronologically under each artist. The following

is a list of abbreviations for various media: oil on canvas—

o/c, gouache— g., watercolor— wc, collage — col., mixed

media — m.m., etching— etch., lithograph — litho.,
serigraph— seri. Where not indicated, the support is paper.

I Paintings, Drawings, Sculpture

II Individual Graphics (partial listing)

III Portfolios of Graphics (partial listing)

IV Posters; Designed by the artist (partial listing)

V Rare Books containing original graphics (partial listing)

VI Artists as Illustrators

VII Miscellany

VIII Antiquities

^3.^
PAINTINGS, DRAWINGS, SCULPTURE
Robert Adams Square Syiake bronze 1956

Josef Albers Stripes in Blue oil on glass 1916

'
Study for "Mirage A" oil on paper 1940

Pierre Alechinsky The Share of the Visible ink I96I

Personages ink I96I

Karel Appel Playthings g- 1949

'
Head and Fish o/c. 1954

Alexander Archipenko "

Nude No. I crayon c. I9IZ
'
Nude No. 2 crayon c. 1912

Jean Arp '

Head ink and pencil c. 1910
'
Abstract Form I ink 1912
Abstract Form U ink 192.2
'
Bird Forms wood 1922
Untitled col. c. 1922?
''
Dream Column stone and bronze 1938; 1956
'•
Lunar Armor granite 1938
Ganeniede bronze c. 1950
Composition brass c. 1954
Henry Bacon Portrait of Albert Kahn wc. I89I
A Fountain ink I9I5
Jean Baier Untitled plastic (1) 1932
Giacomo Balia " Work o/c. 1902
* Spring Buds o/c. c. 190S
'
The Stairu'ay of Fareu'ells o/c. c. 1908
* Study Related to "Abstract
Velocity" c. 1913
'
Study for "Mercury Passing
before the Sun." g- 1914
'"
Goldfish pastel c. 1914
* Vortex + Line of Velocity pencil c. 1914-15
''
Futurist Necktie wc, g. and pencil c. 1916
''
The Injection of Futuristn o/c. c. 1918
* Path of a Gunshot o/c. c. 1918
"'
Self Portrait ink c. 1920
''
Iridescent Interpenetration o/c.
''
Fist of Boccioni cardboard, wood and paint
* Croivd and Landscape col.
'"
Rose painted wood
'"
Tree painted wood
Gerrit Benner Composition o/c. I96I
Flowers pencil 1963
Maria Blanchard '
Composition with Figure o/c. I9I6

Umberto Boccioni '-

Self Portrait o/c. c. 1908
A complete listing of the Boccioni
''
The Street Pavers o/c. I9II
drawings and prints in the Winston/ ''
The Mother
Ajtti-Graceful; bronze I9I2
Malbin Collection is found in ''
Development of a Bottle
Joshua C. Taylor's The Graphic
in Space bronze 1912-13
Work of Umberto Boccioni, The ''
Unique Forms of Continuity
Museum of Modern Art, New York,
1961. The drawings total 179 sheets
in Space bronze 1913
with 82 versos, making a total of * Study for "The Drinker" oil, g. and 1914
i6i actual drawings. col.

236
Georges Braque Cards and Dice o/c. c. 1914

Constantin Brancusi The Blond Negress bronze 1933

Sketch for Base of
The Blond Negress pencil 1952-

Pyramid of the Fatal pencil 1952

Erich Buchholz The Beginning of The Cross gesso on wood 1921

Alberto Burri Grand Ferro M-6 col., sheet meta 1958

Alexander Calder Final Sketch for Winston

Mobile ink and pencil 1949
Three Sketches for Mobile ink 1949
Three Sketches for Winston
Mobile ink and pencil 1949
Mobile painted metal 1949
Carlo Carra The Night of January zo, 1915,
7 Dreamed This Picture

(Joffre's Angle of Penetration

on the Marne against
Two German Cubes) col. 1914-15

Christoa Capralos The Poet and his Muse bronze i960

Zeus and Hera bronze 1961

Cesar Iron Bird iron 1957

Marc Chagall Dream — Young Child and
Fortune g- 192-9

Edouardo Chillida Composition col. and ink 1953

Pietro Consagra Colloquies bronze n.d.

William Copley Nude on Divan ink 1964

Co}7jposition with Figure ink 1965
Corneille Springtime Panoply o/c.
(Cornelius van Beverloo)

Wessel Couzijn Icarus bronze n.d.

Broken Light crayon 1962

Hubert Dalwood Object; Open Space aluminum 1959
King aluminum i960
Alan Davie Trick for the King oil on board i960
Edgar Degas Dancer Tying her Slipper pastel n.d.

Eugene Delacroix Male Classical Figure wc. and sepia n.d.

Figures Two Sketches:
Bust, and Right Shotdder
of Woman pencil n.d.

Robert Delaunay '

Still Life With Red
Tablecloth o/c. 1937
Narcisse Virgile de la Flower Picture o/c. n.d.
Pena Diaz

Theo van Doesburg '

Still Life o/c. 1916
Piero Dorazio Vbiquita painted wood 1955
Untitled ink and wash 195S
Romance o/c. 1959
Abstract bronze n.d.

2.37
Joseph D. Downing Untitled col. 1966
Staplage No. i col. c. 1964
Staplage No. i col. c. 1964
Staplage No. 3 col. c. 1966
Untitled wc. c. 1971

Jean Dubuffet Figure o/c. 1954

The Joker clinker 1954

Marcel Duchamp Valise Containing 1941-41

Miniature Reproductions and
of the Work of the Artist ni.m. 195Z
Set of Discs and Record
Attachment to Go on a
Turntable, such as a Record
Player or any Fixture to
Create Movement m.m. 1961

Max Ernst Sitting Buddha col. and print 19ZO

Composition o/c. 1924-26
Come into the Continents pencil, crayon 1926

Paul Feeley Katadoro plastic paint on 1963

canvas
Dabih wood 1965

Lyonel Feininger Fishing Smacks wc. 194Z

Boats wc. 1943
Lucio Fontana Study for the Doors of
the Milan Cathedral ceramic n.d.

David Fredenthal Head of a Girl Looking

at Hands pencil c. 1940
Otto Freundlich '
The Unity of Life and
Death o/c. 1936-38

Naum Gabo Linear Construction in plastic and

Space No. 1 nylon thread c. 1950
Alberto Giacometti ''
The Couple bronze 1926
Emile Gilioli Chimera onyx 1956
Albert Gliezes " The Bather o/c. 1912

Julio Gonzalez ""

Woman icitli Broom iron 1929-30
'
The Kiss iron 1930
Juan Gris ''
Man ii'ith Guitar pencil 1918
'''

The Siphon Bottle o/c. 1919

Pegeen Guggenheim Tea Party o/c. 1945
Etienne Hajdu The Bud ceramic 1949
The Siren marble 1956
Jean Helion Yelloii' Stripes o/c. 1938
Auguste Herbin '
Composition o/c. 1921
Rudolf Hoflehner Goddess of the
Mediterranean iron 1958
Johan B. Jongkind St. Pierre or Vieiv of
a Village wash and penci 1861
Moonlight o/c. 1872

238
Asger Jorn The Suicide of Mr. H. o/c. 1961

Albert Kahn European Sketch wc. c. 1890

Sketch of Chateau
Blois, France wc. c. 1890
Wrotham pencil 1925
Taxco pencil 1937
St.Germain des Pres pencil n.d.

Vasily Kandinsky
'"
Luminosity o/c. 192-7
•
De Profundis wc. 1932
Light Cubes wc. 193Z

Angelica Kauffman Diana and the Nymphs wc. n.d.

Paul Klee Munich ink 1910

"'
What Remains g. and charcoal c. 1926
''
Forged Still Life wc. 1937
'
Signs in Blue wc. on tinted cloth c. 1938

Kotchar Figure paint on iron 1932

Aris Koutroulis Untitled pastel 1969

Frans Krajcberg Composition g- 1959

Composition g- i960

Yasuo Kuniyoshi Head of a Young Girl oil 1937

Gaston Lachaise "
Woman— Arms Akimbo bronze c. 1910-11
'*
Woman Arratiging Hair bronze c. 1910-12

Roger de La Fresnaye ''

Study for "The 14th of July" wc. I9I3
"'
Composition with a Trumpet ink and wash I9I8

Louis Latapie Dream Caryatid o/c. 1953

•
Henri Laurens Man with a Moustache stone I9I9?

Caroline Lee The Buoy aluminum I97I

Fernand Leger ""

Woman in Armchair o/c. c. 191Z-13
" Sttll Life pencil I92I

Les Levine Windows col. 1969

Windows col. 1969
Mon Levinson Overlapping Squares in Flux plexiglas, paper and ink 1967
Untitled pencil 1972
El Lissitzky ''
Proun No. 9j col., g., oil c. 1920-23

Morris Louis ''

Quo Numine Lasso m.m. 1959
''
Late Flowering acrylic resin on unsized duck 1962
Lucebert (L. C. Swanswijk) Family Portrait g- i960
Stanton MacDonald-Wright "'
Conception Synchromy o/c. I9I6-I7?

Alberto Magnelli Untitled col. 1949

Andre Masson ''
Nude under Fig Tree charcoal and ink 1944
Louis Marcoussis Loreley o/c. 1932
John Marin Small Pointe, Maine wc. I9I4
Near Stonington, Maine wc. I9I5

Henri Matisse * The Velvet Gown ink 1936

Bernard Meadows Shot Bird bronze 1958
Shot Bird bronze 1959

239
Jean Metzinger
'"
Still Life with Pears o/c 1512-17
Still Life with Pipe o/c

Pierre Mignot No. VIII ink 1969

No.X ink 1969

Mirko Woman Drinking at a River bronze c. 1954

Joan Miro * Personage; Fratellini o/c 192.7

Figures and Bird /'«

Front of the Sun o/c 1930

Piet Mondrian ''

Composition in Black and
White with Blue Square o/c 1535

Claude Monet Water Lilies or Nymphiades o/c 1907

Richard Mortensen Cahier de Marseilleiu g- 1959

Adolph J.T. Monticelli In The Park or Garden

Scene with Seven Ladies o/c n.d.

Henry Moore ''

Abstract Sculpture hoptonwood stone 1937

Louise Nevelson Personage One plus Two terra cotta c. 1947

Gordon Newton Untitled No. i charcoal n.d.

Untitled No. 2 charcoal n.d.

Kenneth Noland * Baba Yagga acrylic resin on 1964

unsized canvas

David Packard Balled Head bronze 19^2.

Eduardo Paolozzi * Head bronze 1957

Chong Bae Park Untitled cast iron 1967
Antoine Pevsner * Square Relief plastic on cardboard 1922
''
Figure copper -^ 1925
""
Fresco, Fauna of the Ocean brass and tin 1944
Francis Picabia ''
Landscape, La Creuse o/c. c. 1912
'*
Mechanical Expression
Seen through Our Own
Mechanical Expression wc. 1913
''
Portrait of Marie Laurencin wc. c. 1917
* Alarm Clock 1 ink I9I9

Pablo Picasso Still Life pencil I9I3

''
Glass on a Table col. 1914
* Still Life luith Guitar (recto);
The Portal (Fontainbleu)
(verso) o/c. 192.1
'"
Portrait of a Woman
Seated under a Light ink and wash 1938
''
Portrait of Dora Maar o/c. 1941
Jackson Pollock Moon Vessel o/c. 1945
Enrico Prampolini Mechanical Venus col. and oil on wood 1930
Polimaterico Automatismo
A col. 1940
Polimaterico Automatismo
C col. 1940
Polimaterico Automatismo
F col. and oil on board 1941

140
Germaine Richjer Praying Mantis bronze 1947
The Six-Headed Horse gilded bronze 1953-56

Medardo Rosso " The Flesh of Others wax over plaster 1883
''
Sick Boy wax over plaster 1883
''
Man in Hospital bronze 1889
" Jewish Boy wax over plaster 1891
'''

Ecce Piier wax over plaster 1906-07

Morgan Russell
'"
Synchromy No. 2

To Light o/c. mounted on cardboard 1913?

Luigi Russolo * Perfume o/c. c. 1908

Emilio Scanavino Reliqiiie oil 1959

Kurt Schwitters ''

Composition: Ashoff, Elleji col. 1922
" C.48 S.Y. Cut-Merz col. 1946
''
S.ss Merz col. 1946
''
Ent Garett, Merz col. 1947
''
Examiner z86i Merz col. 1947

Michel Seuphor Untitled ink n.d.

Velvet Dance col. and g. 195S

Gino Severini ''

Study for "Portrait of
Mme. M.S." pastel 1912
'"
Three Documents Pertaining
to Futurist Exhibition wc. 1913
" Portrait Mme. Severini wc.
of 1913
'
Still Life with Cherries col., pencil and crayon 1913
* Study for "Sea = Dancer" charcoal 1913
''
Sea = Dancer; Dancer
beside The Sea o/c. with sequins 1913-14
'
Study for Armored Train pencil 1914
Draining ink 1951
Abstraction ink and pastel 195-
Abstraction g- 1952.

Viititled ink 195S

Untitled wc. and ink 1963
Still Life ii'ith Epinette mosaic n.d.

Mario Sironi ''

Composition g- 1912
The Dancer g- 1913
'
Matt oit Motorcycle col. and oil 1918

Tony Smith Piece wood 1966-68

Rhotnboidal Dodecahedron wood 1970
Spitball granite 1971

Francesco Somaini Wound— Great Wounded One

No. I lead i960

Chaim Soutine The Red Gladiolas o/c. c. 1919

Nicholas de Stael Abstraction wc. 1950

Frank "
Stella Sketch Red Lead o/c. 1964

Peter Stroud Greeti Circutttuent tviti) Blue politec on masonite 1964

Yves Tanguy '

Shadow Country o/c. 1917

Mark Tobey * Battle of the Lights g- 1956

Z4I
 1

Joaquin Torres-Garci'a Composition painted wood c. 1931

''
Symmetrical Composition o/c. 1931

Tristan Tzara Fragment signed by

Tristan Tzara, Leon Degand
a^td others ink 1956

Laurence Vail Figure No. i tin, glass and found objects n.d.

Figure No. 2 tin, glass and found objects n.d.

Victor Vasarely Ixion oil on glass c. 1964

Andy Warhol '-

Self Portrait m.m. 1967

Tom Wesselmann Study for Still Life pencil 19S3

Richard Wilt Du Geant Poryphyrion acryiic/c. 1969

II INDIVIDUAL GRAPHICS (partial listing)

Henri-Georges Adam Snares litho. 1959

Anni Albers Triadic Series C, D, E, F seri. I9S9

Josef Albers Seclusion litho. 1941

SoloV intaglio 1958
Karel Appel Composition litho. 1958
Composition litho. 1959
Flying Birds litho. 1959
Alexander Archipenko Still Life litho. n.d.

Jean Arp Everday Magic woodcut 1961

Untitled etch. n.d.

Sophie Taeuber-Arp Abstraction litho. n.d.

Olle Baertling from Album "The Angles seri.

of Baertling" (3) 1965-1

Willi Baumeister Summetic Landscape litho n.d.

Roger Bissiere Rose etch. n.d.

Robert Broner Migrations litho. 1958

Alexander Calder Quilt litho. 196S
Flying Saucers litho. 1968
Mary Gallery A Study for Sculpture litho. n.d.

Massimo Gampigli The Theater litho. 195

Patrick Caulfield Glasses and Bottle seri. n.d.

Cesar Composition litho. n.d.

Untitled litho. 1970
Marc Chagall Romantic Figure etch, and wc. n.d.

Teng Beng Chew State !: Conglomeration litho. 1967

Christo (Javacheff) Corridor Store Front m.m. 1967
Corneille Summer Games litho. i960
Southern Sea litho. 1961
Wessel Couzijn Moving Forms etch. n.d.
Composition No. i.

No. 2, No. 3 litho. 1963

2.42.
Allan D'Arcangelo Landscape silkscreen 1968

Alan Davie Zurich Improvisations, No. ly litho. n.d.

Maurice Esteve Aladdin litho. n.d.

Helen Frankenthaler Sky-Frame IV monotype 1964

What Red Lines Can Do seri. 1970

Antonio Frasconi The Dog and the Crocodile woodcut 1952

Riipprecht Geiger Untitled seri. 1968

Marcel Gromaire Reclining Woman etch. 1950

Hans Hartung Abstraction litho. n.d.

L6 litho. 1966

Stanley William Hayter Abstraction intaglio n.d.

Al Held Untitled I seri. 1966-68

Anton Heyboer Untitled etch. 1962

Sue Carol Hirtzel Black Set z intaglio 1972

Howard Hodgkin Girl on a Sofa litho. 1968

Robert Indiana Love seri. n.d.

Jasper Johns Hatteras litho. 1963

Allen Jones Slipper litho. 1968

Asger Jorn from jubilaeum-serien litho. 1963

Vasily Kandinsky Kleine Welten I; III litho. 1922

Klei!te Welten VU; VIII woodcut 1922
Kleine Welten IX; X; XI etch. 1922

Ellsworth Kelly Cyclamen III litho. 1964

No. 4 Vert litho. n.d.

Aris Koutroulis Veil No. i; No. z cliche verre 1968

Yasuo Kuniyoshi Acrobat litho. n.d.

Still Life at the Windoiv litho. 192S

Marie Laurencin Two Girls and a Dog litho. n.d.

Henri Laurens Horizontal Figure litho. c- 1935

Nude Female Figure litho. c. 1935
Julio le Pare Untitled litho. n.d.

Untitled litho. n.d.

Les Levine Disposables plastic

multiple (3 clear) 1969

Alexander Liberman Untitled litho. 1970
Roy Lichtenstein Head of a Girl litho. n.d.
Stedelijk litho. n.d.

Vincent Longo Swinging White woodcut 195S

Keeping Still etch. 1964
Screen etch. 1967
Green Screen etch. 1967
Other Side etch. 1967
Plaid aquatint and etch. 1968
Frontal etch. 1970
Lucebert Klein Circus etch. n.d.
Geheime Raad etch. 1961

M3
Alfred Manessier Abstraction litho. n.d.

Marino Marini Man and Two Horses litho. c. 1951

Paul Martyka 171 Cubes intaglio 1972

Andre Masson Mythology of Being etch. 1942,

Nocturnal Notebook etch. 1944

Henri Matisse Mother and Child litho. c. 1951

Joan Miro Lithograph IV litho. 1944

Untitled etch. 1947
Untitled etch. 1947
Cartones litho. 1959-65

Amedeo Modigliani Reclining Nude etch. n.d.

Rolf Nesch The Blue Mask intaglio 1959

Louise Nevelson The Great Wall intaglio 1970

Barnett Newman The Moment seri. on plexiglas 1966

Claes Oldenburg New Media, Neiv Forms litho. n.d.

Soft Scissors litho. 1968

Pablo Picasso Owl Head litho. n.d.

"
Untitled litho. n.d.

Don Quixote litho. 195.';

Serge Poliakoff Composition etch. 1958

Robert Rauschenberg Stunt Man 1; U; 111 litho. 1962

Accident litho. 1963
Front Roll litho. 1964

Man Ray Untitled etch. n.d.

Germaine Richier Praying Mantis etch. -^ c. 1947

Bridget Riley Fragment seri. on plexiglas 1965
Larry Rivers Ford Chassis 1 litho. 1961

Sally W. Robinson Rhythms litho. 1969

Purple Grid litho. 1972
Floral Garden cliche verre 1973
Georges Rouault Clown Tristis aquatint 1934
Busts of Tivo Women litho. n.d.

Luigi Russolo * Neitzsche etch. c. 1909

Michel Seuphor August seri. 1964
Game in the summer '71 seri. 1971
Richard Smith Edward Gordon Craig
Series 11 litho. 1968
Pierre Soulages Composition litho. n.d.

Andrew Stasik Untitled litho. 1958

Rene Pierre Tal Coat Composition litho. 1958
Yves Tanguy Surrealist Figure etch. n.d.

Jean Tinguely Untitled litho. c. 1969

Mark Tobey Untitled etch. 1967

244
 Henri Toulouse-Lautrec Marcelle Lender Doing
the Bolero in the
Operetta "Chilperie" lirho n.d.

All Moulin Rouge, L'Union

Franco-Russe litho n.d.

Maurice Utrillo Montmartre litho n.d.

Montmartre Le Moulin de la

Galette litho n.d.

Notre Dame litho n.d.

Paris Street Scene litho n.d.

Victor Vasarely Untitled seri. 1963

Jacques Villon Figures at a Table litho n.d.

Figures etch. 1951

June Wayne Goe and Catche a Falling

Starre litho 1957

III PORTFOLIOS OF GRAPHICS (partial listing)

Anni Albers Triadic Series screenprints (4) 1969

Josef Albers Homage to the Square

Soft Edge-Hard Edge litho. 1965
Ten Variants litho. 1967
Accardi, Colla, Dorazio, La Litografia: Galleria La litho. 1963
Festa, Fontana, losavio, Salita Rubra (i by each artist)

Rotella, Sanfilippo, Schifano

and Scialoja

Jean Arp L, Rue Gabrielle etch. (12) 1958

Afro, Balla, Conte, Dorazio, Arte Astratta Italia seri. 1955
Jarema, Magnelli, Moretta, (i by each artist)

Munari, Nativi, Perilli,

Prampolini, Radice, Severini,

Soldati

Giuseppe Capogrossi Untitled litho. (6) n.d.

Genevieve Claisse Cercles seri. (ii) 1967

Arp, Sonia Delaunay, Aux Nourrittires terrestres litho. (10) 1950
Magnelli, and Taeuber-Arp

Sonia Delaunay Compositions couleurs idees litho. (40) n.d.

MS
 Max Ernst Les Chiens ont soif etch. {2); litho. (25) 1964
Histoire Naturelle, signed collotypes after 1926
original frottages

(34)

Gottfried Honegger Transmissions litho. (5) 1954

Warja de Honegger-Lavater Chaciin sa chimere etch. (5) 1953

Les Levine Iris, Print-out Portrait litho. (9) 1969

Andre Masson Mythology of Being: etch. (9) ; 1942

A Poem
Carlos Merida Estampas del popol imh litho. (10) 1943

Joan Miro Untitled litho. (13) 1948

Richard Mortensen and A I'Occasion de I'exposition seri. (6) 1967

Victor Vasarely " Mortensen/Vasarely"

Ad Reinhardt Untitled seri. 1966

Michel Seuphor Intimes etendures seri. (10) I961

Andrew Stasik Prints and Poems intaglio (9) 1958

Georges Valmier Collection decors et coulenrs color reproduction (20) n.d.

Stuart Davis, Indiana, Kelly, Ten Works by Ten Painters seri. 1964
Lichtenstein, Motherwell,
Ortman, Poons, Reinhardt,
Stella, Warhol

IV POSTERS: DESIGNED BY THE ARTISTS (partial listing)

Jean Arp Galerie Denise Rene, Paris litho. i960

Staatliche-Kunsthalle,
Baden-Baden litho. i960
Moderna Museet, Stockholm litho. 1962
Galerie Denise Rene, Paris litho. 1962-63
Del Vetro D'Azie, Venice litho. 1964
Louis Broder Editeur, Paris litho. 1966
Galerie Im Erker am
Gallusplatz, St. Gallen litho. (3) 1967
Museo D'Arte Contemporanea
Locarno photomontage n.d.

246
 1

Alexander Calder Galerie Maeght, Paris, signed litho. n.d.

Galerie Maeght, Paris, signed litho. n.d.

Galleria DeU'Obelisco, Rome litho. 1956

Fondation Maeght, St. Paul litho. 1969

Marcel Duchamp Sidney Janis Gallery, New York litho. 1953

Musee National D'Art
Moderne, Paris litho. 1967
The Bride Stripped Bare . . . m.m. n.d.

Fernand Leger Maison de la Pensee

Fran9aise, Paris litho. 195
Maison de la Pensee
Fran^aise, Paris, signed litho. 1954
Grand Palais, Paris litho. 1971

Jean Lur9at Maison de la Pensee

Franfaise, Paris, signed litho. 1952

Henri Matisse Maison de la Pensee

Franfaise, Paris litho. 1950
Grand Palais, Paris litho. 1970

Joan Miro Galerie Maeght, Paris litho. (5) n.d.

Galerie Maeght, Paris litho. 197

Pablo Picasso Maison de la Pensee

Franf aise, Paris, signed litho. 1948-49
Musee des Arts Decoratifs
Pavilion de Marsan, Paris litho. 1955
Vallauris, signed litho. 1956
Vallauris, signed litho. 1956
''
Galeries 65 Cannes litho. 1956
Galerie Beyeler, Basel,
signed litho. 1956
Galerie Lucie Weill, Paris litho. & 1956
Galerie Beyeler, Basel
signed litho. 1957
Vallauris, signed vvoodblo 1957
Exposition de Ceramiques,
signed litho. 1958
Maison de la Pensee
Fran^aise, Paris, signed litho. 1958
Affiches orignales des
maitres de I'Ecole de Paris litho. 1959
* Galerie de Remparts, Antibes litho. (z) 1959
Los Angeles County Museum
of Art litho. 1959
Galerie Beyeler, Basel litho. 1967
Galerie Beyeler, Basel,
signed litho. 1970
Musee National d'Art
Moderne, Paris litho. 1971
Galerie de Passeur, Paris litho. (2) 1971

M7
 1

Robert Rauschenberg Dwan Gallery, New York litho. n.d.

Jewish Museum, New York,

signed litho. 1963
St. Louis Symphony Hall,
signed litho. 1968

Wiliem Sandberg Israel Museum, Jerusalem,

signed litho. 1968

Gino Severini Galerie Berggruen, Paris,

signed litho. 1966

Ben Shahn Musee National d'Art

Moderne, Paris, signed litho. 1954

Andy Warhol Ferus Gallery, Los Angeles litho. n.d.

Morris International, Toronto litho. 1965

Galerie Thomas, Dusseldorf seri. 1970
Tom Wesselman Galerie Thomas, Dusseldorf litho. 1968

V RARE BOOKS containing original graphics (partial listing)

Josef Albers Interaction of Color, Yale University Press, 1963

Karel Appel Hugo Claus, Karel Appel, Painter, Abrams, 1951

Jean Arp Dreams and Projects, Fequet & A. Baudia, 1951-51

Georges Braque Tristan Tzara, La Bonne Retire, R. Jacquet, 1955

Cobra Monographs of works of artists in the Cobra Group, 1950

Constant Gerrit Konwenaar, Goede Morgan Haan, Experimentale Groep, 1949
Marcel Duchamp Le Surrealisme en 1^47, Maeght, 1947
Futurism ed. Vanni Scheiwiller, Piccola antologia di poeti fiittiristi, Milan, 1958

Albert Gleizes and

Jean Metzinger Dn Cubisme, Compagnie Fran^aise des Arts Graphiques, 1947

Henri Laurens Homer, L'Odyssee, Creuzevault, 1951

Fernand Leger Tristan Tzara, La Face interieiire, Seghers, 1953

Louis Marcoussis Planches de saint, Jeanne Bucher, 193

Andre Masson Nocturnal Notebook, Curt Valentin, 1944

Georges Duthuit, Le Serpent dans la galere. Curt Valentin, 1945

Joan Miro Tristan Tzara, Parler seul poeme, Maeght, 1948, 1950
Miro-Cartones, 1959-196^, Pierre Matisse Gallery, 1965

Mehmed D. Nejad Tristan Tzara, Le Temps naissant, 1955

Antoine Pevsner Carola Giedion-Welcker, Antoine Pevsner, Neuchatel, 1961

Pablo Picasso Tristan Tzara, A Haute flamme, Jacquet, 1955

Pierre- Auguste Renoir Ambroise VoUard, La Vie et I'oeiwre de Pierre-Anguste Renoir,

Vollard, 1919

Wiliem Sandberg Nn-XX, Holland, 1959

Joaquin Torres-Garcia La Citidad sin nombre, Montevideo, 1941
Jacques Villon Tristan Tzara, Miennes, Caracteres, Paris, 1955

148
 VI ARTISTS AS ILLUSTRATO RS (partial listing)

Pierre Bonnard Parallelement litho. n.d.

Giorgio de Chirico Calligrammes litho. 1930

Maurice Denis Thompson's Poems litho. n.d.

Raoul Dufv' La Belle-enfant, ou

L' Amour a qiiarante ans etch. 1930

Marie Laurencin La Princesse de Cleves aquatint n.d.

Fernand Leger Les Illuminations litho. 1949

Jean Lur^at Mes Domaines \vc. 1958

Alberto Magnelli Poesie de mots iyiconnus aquatint 1949

Aristide Mailloi Daphnis Playing on his Pipe woodcut 1926

Shepherds and Dryad
Maidens Fill the Woodland woodcut 1916
L'Art d'aimer woodcut 1935
Plant Forms woodcut 1937
Albert Marquet Images d'une petite ville arabe etch. n.d.

Andre Masson Les Hain-Teny etch. 1956

Henri Matisse Pasiphae, chant de Minos linoleum cut 1944

Joan Miro La Bague d'Aurore etch. 1957

Georges Rouault Parades litho. & wc. 1938

Andre Dunoyer de Segonzac Les Georgiqiies etch. 1937-43

Sophie Taeuber-Arp Poesie de mots inconntis litho. 1949

Rene Pierre Tal Coat Poets, Painters and Sculptors litho. n.d.

VII MISCELLANY (partial listing)

Giacomo Balla Palette and 2 brushes c. 1925

Umberto Boccioni Palette n.d.

Constantin Brancusi The Kiss ink and oil on eggshell 1953

Alexander Calder Yellow Circle rug

Pablo Picasso Female Figure ceramic

Bulls Head ceramic plate
Serrure rug
Untitled rug
Owl ceramic

VIII ANTIQUITIES (partiallisting)

Pre-Columbian: group of 11 stone and ceramic pieces of Aztec and Tarascan origin

Etrusco-Corinthian Oil Flask terra cotta c. 6th Century B.C.

Roman Capital stone 3-ist Century B.C.

Egyptian Amulet of two fingers stone date uncertain

Cypriot Figurine terra cotta 8-7th Century B.C.

Etruscan Cinerary urn stone 5 -4th Century B.C.

Anatolian Bird bronze end of 2nd

Millenium B.C.

249
Photographic Credits

Black and white illustrations:

Detroit Institute of Arts: nos. 64, 103, 112, 114, 116, 117,
152, 157, 166, 188, 190, 193, 199, 207, 220, 2z8, 230, 232

Lew Gilcrest Studios, Birmingham: nos. 10, 13, 18, 22, 40,

48, 53, 70, 93, 99, 102, 105, 106, 168, 169, 176, 191, 192,
197, 205

Joseph Khma, Jr., Detroit: nos. i, 12, 16, 19, 31, 33, 39, 50,

51, 56, 63, 67, 72, 74, 76-80, 83, 86-89, 93, 94, 98, 100,
107, 108, III, 133, 134, 177, 214

Courtesy Dr. and Mrs. Barnett Malbin, Birmingham: nos. 2,

5, 7, % II, 12.- 14, i5> 17, 2.0, 24, Z7-31, 35, 37, 38, 42, 44-47,

49, 52, 55a, 55b, 57, 6z, 65, 66, 68, 71, 75, 81, 82, 85, 91, loi,
104, 109, 119, 138, 141, 142, 150, 151, 153, 162, 182, 187,

195, 196, 200, 201, 209, 215, 218, 223, 224, 129

Milwaukee Art Center: no. 6

Robert E. Mates and Susan Lazarus, New York: nos. 3, 4,

8, 2.1, 25, 34, 36, 41, 43, 54, 58, 60, 69, 73, 92, 95, 97, no

Color Plates:

Joseph KHma, Jr., Detroit: nos. 26, 59, 102

Courtesy Dr. and Mrs. Barnett Malbin, Birmingham: no. 61
Robert E. Mates and Susan Lazarus, New York: nos. 23,
32, 84, 90, 96, 108

Supplementary Photographs:

Joseph Klima, Jr., Detroit: p. 27

Baltazar Korab, Birmingham: pp. 5, 17
Courtesy Dr. and Mrs. Barnett Malbin, Birmingham: pp. 6,

8,15,18,20,22,28

250
Exhibition 73/5

3750 copies of this catalogue designed by Malcolm Great

have been printed by the Meriden Gravure Company

in September 1973 for The Trustees of The Solomon R.

Guggenheim Foundation on the occasion of the exhibition

Futurism: A Modern Focus

151