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Showing 11 of 1986

Cat. No. 1046

Untitled, no. 6 of 12, from the portfolio, Anatomy

Only state
Anatomy (View All)
Alternate Title:
The Woman Drying in the Sun
Smooth, wove Somerset paper
plate: 7 x 4 15/16" (17.8 x 12.6 cm); sheet: 19 1/2 × 14 1/16" (49.5 × 35.7 cm)
"LB" right lower margin, pencil.
Peter Blum Edition, New York
Harlan & Weaver, New York
44; plus 10 A.P., 6 P.P., 2 SOLO Press Impressions, 2 for Peter Blum, 1 B.A.T
"III/X" left lower margin, pencil, unknown hand.
Edition Information:
The entire edition size was not listed on the publisher's colophon or in the cataloguing of this portfolio in Wye and Smith, "The Prints of Louise Bourgeois," 1994, p. 166. The full edition seen here was confirmed by Harlan & Weaver, New York.

The 10 A.P. impressions are numbered in Roman numerals. The 6 P.P. impressions are numbered in Arabic numerals, as is the single B.A.T. impression. The 2 SOLO Press Impressions are inscribed "SPI 1" and "SPI 2." The inscriptions and numbering on the 2 impressions for Peter Blum are unknown.

There is 1 known impression of the only state, outside the edition. It is inscribed by the artist "To Robert Storr, Amicalement, 12/22/89."
In 1988 Peter Blum, as a representative of "Parkett" magazine, discussed doing a multiple with Bourgeois. He also explored with her the idea of doing a print project with Peter Blum Edition. When they began to do prints together in 1989, Blum worked with Judith Solodkin, of SOLO Impression, as supervisor of printing, since Solodkin already had a friendly relationship with Bourgeois. Since SOLO Impression did not focus on intaglio printing, Solodkin made arrangements with Harlan & Weaver. Occasionally, Bourgeois went to the SOLO Impression workshop to inspect proofs brought over from Harlan & Weaver. Initially, she had no particular project in mind and began working in drypoint directly on copper plates using a variety of images.

The title was selected after the theme of anatomy became evident in a number of images the artist created. The published portfolio has no table for plates; nor does it identify the plates by number or title. During preparations for the 1994 catalogue raisonné, however, Bourgeois arranged the plates in the order she preferred, with imagery proceeding generally from head to foot. She also assigned titles at that time.
Artist’s Remarks:
"She hangs there... it is dangerous... everything is out there... she is exposed. She reacts because she is vulnerable. But this is what she wants... sexuality is in the open."

"The erotic is everything... the subject is everything... eroticism is stronger than religion. It is dangerous. Be careful of your own sexuality. This is a dammed-up sexuality... it is a damming up of perceptions." (Quotes cited in Wye, Deborah and Carol Smith. "The Prints of Louise Bourgeois." New York: The Museum of Modern Art, 1994, p. 170)
Installation Remarks:
The prints in this portfolio can be shown as a group or individually. There is no required sequence.
Curatorial Remarks:
The source drawing for this work was not available for reproduction. It can, however, be viewed on microfilm at the Archives of American Art, reel 54, frame 142, and in the following exhibition catalogue: Gorovoy, Jerry. "The Iconography of Louise Bourgeois." New York: Max Hutchinson Gallery, 1980.
Former Cat. No.:
W & S 102
MoMA Credit Line:
Gift of the artist
MoMA Accession Number:
This Work in Other Collections:
Centro Cultural / Arte Contemporaneo, Mexico City
Des Moines Art Center, Iowa
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library
The Museum of Fine Arts, Houston
Philadelphia Museum of Art
Yale University Art Gallery, New Haven, CT

Untitled, no. 6 of 12, from the portfolio, Anatomy


Published Louise Bourgeois. Untitled, no. 6 of 12, from the portfolio, Anatomy. 1989-1990
Only state


Louise Bourgeois. Anatomy. 1989-1990
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