Artist: Stuart Davis (American, 1894 - 1964). Title: "Thermos [the title variously has been recorded as "Composition" and "Untitled"]". Medium: Color silkscreen. Date: Composed 1964. Dimensions: Overall size: 17 13/16 x 21 5/8 in. (452 x 549 mm). Image size: 11 1/16 x 14 1/4 in. (281 x 362 mm). Lot Note(s): Signed in pencil by the artist's wife, Roselle Springer Davis, lower right; annotated lower left; signed in the plate, lower center. An unrecorded proof aside from the edition of 500. Cream heavy wove Mohawk Superfine paper. Wide margins. Fine impression with bold, bright colors. Good condition; minor foxing verso, not visible recto; some gentle surface marks visible in the raking light, recto. Literature/catalogue raisonne: Cole 27. Provenance: Estate of Seymour Hacker, Hacker Art Books, NYC. Comment(s): From the 'Ten Works x Ten Painters' portfolio, published by Wadsworth Atheneum and printed by Ives-Sillman. In a communication on April 23, 2013, from Ann Brandwein, Assistant Archivist, Wadsworth Atheneum Museum of Art, she notes: "Sam Wagstaff [of the Wadsworth Atheneum] called Stuart Davis directly in July 1963, because Edith Halpert, Davis's dealer, was away for the summer. Wagstaff informed Halpert on July 22 that 'he [Davis] seems amenable to being in the portfolio. He has not been feeling too well so had not been able to do anything on the design, but, as we will postpone publication a bit now anyway, this does not really matter.' Wagstaff had approached Ives-Sillman Printers in New Haven, CT, in February 1963 about producing the portfolio, but it was not until May 1964 that this arrangement was finalized. In this communication, Wagstaff notes that Davis may be late with his work. Davis died unexpectedly from a stroke on June 24, 1964. On Friday, July 10, Wagstaff brought two Davis works to Ives-Sillman. These had arrived at the Atheneum from Halpert's Downtown Gallery on July 3. The two works were #36 Standard Brand #2, 1962, casein and #138 Thermos, 1962. Si Sillman wrote Wagstaff on July 15, 'The two Davis' are now with me. Both are excellent and either would add a superb touch to your book. I'm almost sorry I said anything to you on the phone the other day because you're going to think that that is the only reason I prefer to keep the one which I believe we both prefer (orange, green, red, black and white) the size that it is. First, I like very much the white around it (border) - for me, it needs the large amount of white. Second, I wonder about enlarging the writing when you enlarge the whole thing - I suspect he would have made an adjustment. Well, you decide, But, I must say, you were very lucky to get such good ones.' It should be noted that Sirocco Screenprints of North Haven, CT, was also involved in the production of the prints, in a role that seems subsidiary to Ives-Sillman. But Sirocco was not a subcontractor of the latter, because they billed the Atheneum directly. Roselle Davis approved the inclusion of Thermos, 1962, in the portfolio on November 6, 1964, even though the work had been at the printers since July. The Atheneum's press release and the local paper announced that the publication date for the portfolio would be December 15, 1964. A complete set was on display at the museum at the time of the press release. There is a note/announcement from Wagstaff on January 12, 1965, explaining that the entire portfolio had been delayed because of technical difficulties with one of the silk screen designs, but he hoped it would be ready within a few weeks. By mid March 1965 The Downtown Gallery had received two portfolios and ten Stuart Davis proofs. Toward the end of the year, the Wadsworth Atheneum decided to break up ten of the portfolios and sell the works individually [for $15 each]." Image copyright © Licensed by VAGA, New York, NY. [26851-4-2400]