Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941 – 1991 Volume 3 - Flipbook - Page 497
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Automatic Image No. 3
Automatic Image No. 4
1963
Oil on paper
29 x 22⅞ in. (73.7 x 58.1 cm)
1963
Oil on paper
29 x 22⅞ in. (73.7 x 58.1 cm)
InscrIptIons
Recto, lower right, incised: RM
InscrIptIons
Recto, lower right, incised: RM
Verso not seen [“signed, titled, and
dated 1963 on reverse; titled and dated
1963 on the reverse of the backing
board,” per Sotheby’s 2005]
artIst’s studIo number
d63-354
present owner
Stanley and Pamela Chais
provenance
Dedalus Foundation, 1991; Jonathan
Novak Contemporary Art, 2005;
[Cornette de Saint Cyr, Paris, October
28, 2006, lot 37, illus. (not sold)];
Magnus Einar Konow, 2007
provenance
Private collection, 1965; private collection; [Sotheby’s, New York, May 11,
2005, lot 126, illus.]; Stanley and
Pamela Chais, 2005
references
Arnason 1982, color illus. p. 152
(pl. 191, in studio).
present owner
Magnus Einar Konow
solo exhIbItIons
Musée d’Art Moderne de la Ville de
Paris, 1977.
Manny Silverman Gallery, Los Angeles,
2005, cat. no. 18, color illus. p. 13.
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references
Arnason 1982, color illus. p. 152
(pl. 191, in studio, in early state).
Automatic Image No. 5
comments
In a photograph of Motherwell’s studio
taken during the summer of 1963, this
work is visible in an early state; the
composition is already set, but it has
an orange ground (see Arnason 1982,
p. 152, pl. 191). Motherwell repainted
the ground blue sometime after this
photograph was taken. Automatic Image
No. 6 (w169), another work from the
same series that appears in the same
studio photograph, underwent a similar
revision.
1963
Oil on paper
28⅞ x 22⅞ in. (73.3 x 58.1 cm)
InscrIptIons
Recto, lower right, incised: RM
present owner
Unknown
provenance
Private collection, 1965; unknown
owner
references
Arnason 1982, color illus. p. 152
(pl. 191, in studio).
comments
Our reproduction comes from an early
black-and-white photograph of this
work (Nelson photo no. 19494). It is
also visible in a 1963 color photograph
of Motherwell’s studio (see Arnason
1982, p. 152, pl. 191); its color is similar
to that of Automatic Image No. 2 (w165).
Group exhIbItIons
Marlborough Galleria d’Arte, Rome,
1965, cat. no. 26.
p a i n tin gs on paper and paperbo ard
485
