This unique variant is made from the same plate used in the edition "Love and Kisses," seen in the Evolving Composition Diagram below.
There are 2 known cancellation proofs of "Love and Kisses," each with a large "X" drawn across the composition from each corner of the plate.
The plate also appears in 2 installation sets titled "À l'infini." For "À l'infini," the plate was partially inked and placed in a horizontal position, varying in orientation throughout each set. (For the "Love and Kisses" edition and unique variant, the plate was fully inked and placed in the vertical position.)
To clarify how the artist used this plate, the sheets from "À l'infini" sets 1 and 2 are organized by their orientation (A or B) in the Evolving Composition Diagram below.
"À l'infini" (set 1), 14 sheets: 8 in horizontal A; 6 in horizontal B.
"À l'infini" (set 2), 16 sheets: 9 in horizontal A; 7 in horizontal B.
Benjamin Shiff, the director of the Osiris imprint, collaborated with Bourgeois in a highly experimental phase of printmaking that occupied the last years of her life, from 2005 to 2010. He first established a working relationship with the artist in the 1990s, but the late period is particularly noteworthy for the innovative and complex large-scale projects that evolved at that time. Shiff made use of professional workshops for printing, but he oversaw the creation of the printing plates as Bourgeois worked on them in her home studio. He also provided assistance as she added extensive hand additions and texts, and as she combined individual compositions into multi-panel works and illustrated books.
The paper type and color of the hand additions could not be documented because this work is not in MoMA's Collection and could not be examined in person. The plate dimensions are from the impression of "Love and Kisses" in MoMA's Collection. The sheet dimensions were provided by the Louise Bourgeois Studio.
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