Details WILLEM DE KOONING (1904-1997)Orestessigned de Kooning (lower right); signed again de Kooning (on the reverse)oil, enamel and paper collage on paper mounted on board24 1/8 x 36 1/8 in. (61.3 x 91.8 cm.)Executed in 1947 Provenance Egan Gallery, New York.Mr. and Mrs. John Stephan, New York, 1949.Ruth Stephan Franklin, New York (by descent from the above).Andrew Crispo Gallery, Inc., New York.Private collection, Europe.Washburn Gallery, New York.Allan Stone Gallery, New York.Thomas W. Wiesel, San Francisco.Anon. sale; Sothebys, New York, 12 November 2002, lot 11.Acquired at the above sale by the late owner. Literature R. Goldwater, ed., William DeKooning [sic], Magazine of Art, February 1948, p. 54 (illustrated).R. Stephan, ed., William deKooning [sic], The Tigers Eye, vol. 7, no. 3, 15 March 1948, p. 101 (illustrated). T. Hess, Willem de Kooning, New York, 1959 (illustrated, pl. 76).M. Gill and D. Sylvester, Ten Modern Artists, Programme 10, London, BBC 1964 (video).G. Drudi, Willem de Kooning, Milan, 1972, p. 31 (illustrated).H. Rosenberg, Willem de Kooning, New York, 1973 (illustrated, pl. 50).H. Gaugh, Willem de Kooning, New York, 1983, p. 27, fig. 19 (illustrated).W. Seitz, Abstract Expressionist Painting in America, Cambridge and London, 1983 (illustrated, pl. 19).S. Yard, Willem de Kooning: The First Twenty-Six Years in New York, 1927-1952, New York and London, 1986, pp. 161-162, no. 181 (illustrated).D. Waldman, Willem de Kooning, New York, 1988, p. 59 (illustrated, pl. 41).J. Elderfield, Frankenthaler, New York, 1989, p. 38 (illustrated).S. Yard, The Angel and the Demoiselle: Willem de Koonings Black Friday, Record of the Art Museum, Princeton University, vol. 50, no. 2, 1991, p. 6, fig. 5 (illustrated in color).P. Brach, De Koonings Changes of Climate: A Personal Meditation on the Artists Career, Art in America, vol. 83, January 1995, p. 74 (illustrated in color).Willem de Kooning: the Late Paintings, the 1980s, exh. cat., San Francisco Museum of Modern Art, 1995, p. 10, fig. 1 (illustrated).Continuing Education Bulletin, University of New Hampshire at Durham, vol. 2, no. 4, September 1995 (illustrated on the front cover).S. Yard, Willem de Kooning, New York, 1997, p. 40, pl. 29 (illustrated in color).D. Belgrad, The Culture of Spontaneity: Improvisation and the Arts in Post War America, Chicago and London, 1998, p. 97, fig. 3.7 (illustrated).The Tigers Eye: The Art of a Magazine, exh. cat., New Haven, Yale University Art Gallery, 2002, p. 42 (illustrated).D. Anfam, New Haven: Tigers Eye, Burlington Magazine, vol. CXLIV, no. 1190, May 2002, p. 321 (illustrated).M. Stevens and A. Swan, De Kooning: An American Master, New York, 2004, pp. 251-252.B. Hess, Willem de Kooning, 1904-1997: Content as a Glimpse, Cologne, 2004, p. 25.S. Yard, Willem de Kooning: Works, Writings, Interviews, Barcelona, 2007, pp. 36 and 44 (illustrated in color).R. Shiff, Between Sense and de Kooning, London, 2011, p. 19, fig. 2 (illustrated in color).Sammlung Hubert Looser, exh. cat., Vienna, Bank Austria Kunstforum, April-July 2012, pp. 210-213, no. 4 (illustrated in color). Willem de Kooning: Ten Paintings, 1983-1985, exh. cat., New York, Gagosian Gallery, 2013, p. 62, fig. 23 (illustrated in color).C. Waid, The Signifying Eye: Seeing Faulkners Art, Athens, Georgia, 2013, p. 360.J. Zilczer, A Way of Living: The Art of Willem de Kooning, London, 2014, pp. 84 and 88 (illustrated in color).F. Steininger, et al., Restless Gestures: Collection Hubert Looser, Oslo, 2017, p. 69, fig. 4 (illustrated in color). M. Gabriel, Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art, New York, 2018, p. 212. Exhibited New York, Egan Gallery, de Kooning, April-May 1948 (illustrated on the exhibition announcement).New York, The Museum of Modern Art; Saratoga Springs, Skidmore College; New Britain, Art Museum of New Britain; Fargo, North Dakota Agricultural College; Jacksonville, MacMurray College for Women; Carbondale, Southern Illinois University; Winnipeg, University of Manitoba; East Lansing, Michigan State College; Poughkeepsie, Vassar College; Chapel Hill, University of North Carolina; Atlanta, Georgia Institute of Technology; Fort Worth, Texas Christian University; Northampton, Smith College Museum of Art; New York, Binghamton Museum of Fine Arts; Northfield, Carleton College; Bowling Green State University; Ann Arbor, University of Michigan; Norman, University of Oklahoma; Nashville, The Parthenon; Chattanooga, Chattanooga Art Association, Hunter Gallery of Art; Evanston, Northwestern Illinois; Williamsburg; College of William and Mary; Ithaca, Willard Straight Hall at Cornell University; Oswego, State University of New York, Teachers College; Manchester, Currier Gallery of Art and South Hadley, Mount Holyoke College, Calligraphic and Geometric: Two Recent Linear Tendencies in American Painting, October 1950-May 1954, no. 5.Museu de Arte Moderna de São Paulo, 2nd Biennale of the Museum of Modern Art of São Paulo, December 1953-February 1954, no. 13.New York, Allan Stone Gallery, de Kooning—Newman, October-November 1962.New York, The Jewish Museum, Black and White, December 1963-February 1964.Cambridge, Fogg Art Museum, Harvard University, Within the Easel Convention: Sources of Abstract Expressionism, May-June 1964, p. 17, no. 3.New York, Solomon R. Guggenheim Museum, Word and Image, December 1965-January 1966, no. 18. Amsterdam, Stedelijk Museum; London, Tate Gallery; New York, The Museum of Modern Art; Art Institute of Chicago and Los Angeles County Museum of Art, Willem de Kooning, September 1968-September 1969, no. 22 (Amsterdam: illustrated), no. 25 (London and New York: p. 56, illustrated).New York, Andrew Crispo Gallery, Four Abstract Expressionist Painters: de Kooning, Kline, Pollock, and Pousette-Dart: A Selection of Paintings and Drawings, September-October 1975.New York, Andrew Crispo Gallery, A Bicenntennial Exhibition: Two Hundred Years of American Painting 1776 to 1976, May-August 1976.New York, Andrew Crispo Gallery, Twentieth Century American Masters, May-June 1977. New York, Allan Stone Gallery, Liquefying Cubism, October 1994-January 1995, p. vii (illustrated in color, pl. 22, installation view illustrated).New York, Gagosian Gallery, Willem de Kooning: A Centennial Exhibition, April-June 2004, pp. 28-29 (illustrated in color). New York, Gagosian Gallery, Willem de Kooning: The Last Beginning, September-October 2007, n.p. (illustrated in color). New York, The Museum of Modern Art, Willem de Kooning: A Retrospective, September 2011-January 2012, p. 163, 167-169, 171 and 173, no. 53 (illustrated in color). Special Notice On occasion, Christies has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. 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