Oil on Masonite  28½ x 36 inches/72.6 x 91.4 cm

Signed and dated upper right: J. Dubuffet 52;

signed, titled and dated on the reverse:

‍Paysage américain J. Dubuffet 1952

Private collection, London

Arthur Tooth & Sons Ltd, London (inv. 4263)

Waddington Galleries, London

Private collection (acquired in 2003)

London, Tate Gallery, Jean Dubuffet: Paintings, 23 April-30 May 1966, no.49, illustrated in black and white p.35

London, Waddington Galleries, Jean Dubuffet: A Retrospective, 5–29 October 1983, no.9, illustrated in black and white p.2

Max Loreau (ed.), Catalogue des travaux de Jean Dubuffet: Tables paysagées, paysages du mental, pierres philosophiques, Lausanne, Jean-Jacques Pauvert, 1967, no.238, illustrated in black and white p.157

Oil on canvas

39¼ x 29½ inches/99.5 x 75cm

Signed and dated indistinctly lower right: Magnelli 14;

Signed, titled and dated on the reverse:Alb Magnelli L’Uomo Ubriaco Firenze

The artist’s estate

Anon. sale, Christie’s London, 29 March 1988, lot 176

Acquired at the above sale by the previous owner

A. Maisonnier, Alberto Magnelli: L’oeuvre peint, catalogue raisonné, Paris 1975, no. 39, illustrated, p.56

Oil on canvas

48 x 36 inches / 121.9 x 91.4cm

Signed and dated lower right: Hans Hofmann 50

Estate of the Artist

André Emmerich Gallery, New York

Acquired from the above by the previous owner in 1987

New York, André Emmerich Gallery, Hans Hofmann, December 1987 – January 1988, pl. 3 (illustrated)

W. Seitz, Abstract Expressionist Painting in America, Cambridge, 1983, no. 136 (illustrated)

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Gouache and ink on paper

22½ x 30⅞ inches/57.3 x 78.3 cm

Signed and dated lower right: Calder ‘44

Private Collection, Switzerland

Galerie Beyeler, Basel (acquired from the above in 1970)

Crane Kalman Gallery, London

Private Collection, London (acquired from the above in 1974)

Thence by decent to the previous owner

Basel, Galerie Beyeler, Miró/Calder, December 1972 – February 1973, no. 44, p.76

Oil on canvas

48 x 35⅞ inches / 121.9 x 91.4 cm

Signed and dated lower right: RD 49

The estate of Richard Diebenkorn, 1993

Lawrence Rubin Greenberg Van Doren Fine Art, New York

Acquired from the above by the previous owner, 2001

New York, Lawrence Rubin Greenberg Van Doren Fine Art, Richard Diebenkorn: Early Abstractions, 1949 – 1955, November – December 2000, n.p., pl. I (illustrated)

V. Katz, “Richard Diebenkorn at Lawrence Greenberg Van Doren,” Art in America, March 2001, p. 132

J. Livingston and A. Liguori, eds. Richard Diebenkorn: The Catalogue Raisonné, v. II, New Haven, 2016, p. 210, no. 669 (illustrated)

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This work is catalogued in the Richard Diebenkorn Foundation as number (RD 1053)

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Gouache, watercolour, India ink and graphite on paper

18 x 24 inches/48.5 x 61 cm

Signed, inscribed and dated:

Miró 5/1/37 “A Silvia Löeb avec mes meilleure voeux pour 1937 Miró 5.1.37”

A gift from the artist to Silvia Löeb

Private Collection, France

Jeffrey Loria, New York

Private Collection, New York

Richard Gray Gallery, New York

Jacques Dupin and Ariane Lelong-Mainaud, Joan Miró Drawings Catalogue Raisonné Vol 1, 1901-1937, Paris 2008, no. 723, illustrated in colour p. 342

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This painting is accompanied by a certificate of authenticity kindly issued by Jacques Dupin dated 6 December 2000

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Painted relief, oil and pen on board

12 x 10 inches / 30.5 x 25.3 cm

Signed, dated and inscribed on the reverse: Oct 3-53 (Kate) Ben Nicholson

Private collection, Brussels, (acquired from the artist in 1956)

André Emmerich, New York

Waddington Galleries, Ltd., London

Private collection, Europe (acquired from the above)

Venice, XXVIIeme Exposition biennale internationale des Beaux-Art, 1954, no. 49

Amsterdam, Stedelijk Museum, Ben Nicholson, winter 1954-1955, no. 57; this exhibition later travelled to Paris, Musée d'Art Moderne, 21 January – 22 February 1955; Brussels, Palais des Beaux-Arts 5 – 27 March 1955 and Zurich, Kunsthalle Zurich, 20 April – 22 May 1955

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H. Read, Ben Nicholson: Work since 1947, vol. II, London, 1956, pl. 133 (illustrated)

D. Baxandall, Ben Nicholson, London, Methuen, 1962, no. 13 illustrated in black and white

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Oil and sand on canvas

39 x 27 inches / 99.1 x 68.6 cm

Signed Motherwell and dated '44 (lower right); titled and dated Dec 44 (verso)

Private Collection (acquired directly from the artist circa 1944)

Kootz Gallery, New York (acquired from the above in 1946)

Mr. and Mrs. John Murray Cuddihy, New York (acquired from the above in 1954)

Marisa Del Re Gallery, New York (acquired from the above c.1982)

Acquired from the above in April 1985 by Phyllis & Jerome Lyle Rappaport

New York, Samuel M. Kootz Gallery, Robert Motherwell: Paintings, Collages, Drawings, January 1946, no. 6

New York, Museum of Modern Art; Poughkeepsie, Vassar College; Palm Beach, Society of the Four Arts; Cincinnati Modern Art Society; San Francisco Museum of Art; Baton Rouge, Louisiana State University and Bloomington, Indiana University Art Center Museum, September 1946 - June 1947, no. 61, p. 37, illustrated

Stamford Museum & Nature Center, Abstract Expressionism Lives!, September - November 1982, p. 21 illustrated

New York, Marisa del Re Gallery, Seven Abstract Masters, November - December 1982

Henry McBride, "Attractions in the Galleries," New York Sun, 12 January 1946, p. 9

Ben Wolf, "Difficult Origins," Art Digest, vol. 20, no. 8, 15 January 1946, p. 17

Eugene C. Goossen, "Robert Motherwell and the Seriousness of Subject," Art International, vol. 3, nos. 1-2, January - February 1959, p. 34, illustrated

Russell J. Jinishian, "Not 'pretty' nor Recognizable, but Strong, Personal, Alive!" Bridgeport Post, 31 October 1982, sec. C, p. 9

Vivian Raynor, "Milton Avery: Paintings on Paper at the Whitney," New York Times, 10 October 1982, sec. 23, p. 26

Bailey Van Hook, "Robert Motherwell's Mallarme's Swan," Arts Magazine, vol. 57, no.5, January 1983, pp. 104-105, illustrated

Mary Ann Caws, Robert Motherwell: With Pen and Brush, London, 2003, p. 20, illustrated

Jack Flam, Katy Rogers and Tim Clifford, eds., Robert Motherwell Paintings and Collages: A Catalogue Raisonné 1941-1991, Vol. II, New Haven, 2012, no. P15, p. 15, illustrated in colour

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Acrylic and oil stick on canvas

39⅜ x 31½ inches / 100 x 80 cm

The artist