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LOUISE BOURGEOIS: COMPLETE BOOKS & PRINTS

Louise Bourgeois: Complete Books & Prints
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Showing 8 of 1986

Cat. No. 1043

Untitled, no. 3 of 12, from the portfolio, Anatomy

State/Variant:
Only state
Date:
1989-1990
Portfolio:
Anatomy (View All)
Alternate Title:
Attempt at Meeting; Hair
Themes:
Abstraction, Body Parts
Techniques:
Drypoint
Description:
Drypoint
Support:
Smooth, wove Somerset paper
Dimensions:
plate: 6 15/16 × 4" (17.7 × 10.1 cm); sheet: 19 1/2 × 14 1/16" (49.5 × 35.7 cm)
Signature:
"LB." right lower margin, pencil.
Publisher:
Peter Blum Edition, New York
Printer:
Harlan & Weaver, New York
Edition:
44; plus 10 A.P., 6 P.P., 2 SOLO Press Impressions, 2 for Peter Blum, 1 B.A.T
Impression:
"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.
Background:
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:
"This is friendly. The parts relate harmoniously, but retain independence. They are close, but do not mix. Relating can be with or without touching... or bonding. To make a braid is to obey very strict rules... it is making order out of chaos." (Quote cited in Wye, Deborah and Carol Smith. "The Prints of Louise Bourgeois." New York: The Museum of Modern Art, 1994, p. 168)
Installation Remarks:
The prints in this portfolio can be shown as a group or individually. There is no required sequence.
Former Cat. No.:
W & S 99
MoMA Credit Line:
Gift of the artist
MoMA Accession Number:
172.1990.3
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 (published impression and an impression outside the edition titled "Twist")
Philadelphia Museum of Art
Yale University Art Gallery, New Haven, CT

Untitled, no. 3 of 12, from the portfolio, Anatomy
1989-1990

Source
1949

NOT IN MoMA'S COLLECTION Louise Bourgeois. Untitled. 1949
NOT IN MoMA'S COLLECTION Untitled
Ink and pencil on paper
1949

States

Published Louise Bourgeois. Untitled, no. 3 of 12, from the portfolio, Anatomy. 1989-1990
Only state
1989-1990

Portfolio
1989-1990

Louise Bourgeois. Anatomy. 1989-1990
Anatomy
1989-1990
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