There is one known impression of state II, outside the edition, in MoMA's Collection (Accession Number: 640.2008). It is not illustrated, due to its similiarity to the impression seen here.
State Changes and Additions:
Changes from state I, in drypoint: line added to right side of telephone.
Bourgeois was often inspired by the subjects of early drawings when creating works at much later dates. This 1994 portfolio is an example of a project based primarily on drawings from the 1940s and referring to her life in New York at that time. The exceptions are as follows: plate 1, based on a drawing from 1986 that references childbirth; plates 4 and 9, based on drawings from the 1940s but depicting memories of her childhood years in France; plate 11, most probably based on a drawing from the 1940s of a European hotel desk.
Inscribed by the artist on the wrapper for this plate: "An idealized portrait of Robert / Robert he protects / controls all the keys / and in charge of / protecting the family / the men are / idealized / by me / + the women / are always difficult."
The prints in this portfolio can be shown as a group or individually. There is no required sequence.
Of the 14 plates in "Autobiographical Series," Bourgeois titled plates 6 and 12. The untitled plates have been assigned descriptive titles for cataloguing purposes.
Malbert, Roger, and Juliet Mitchell. "Louise Bourgeois: Autobiographical Prints." London: Hayward, 2016. (Catalogue accompanying the touring exhibition "Louise Bourgeois Prints: Autobiographical Series and 11 Drypoints".)
MoMA Credit Line:
Gift of the artist
MoMA Accession Number:
This Work in Other Collections:
Kunstmuseum Bern, Switzerland Museu da Gravura Cidade de Curitiba, Brazil Tate Modern, London
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