Lithograph on paper
Tate Collection
Works with images
General Collection
Collection
Eighteen Cantos
<a href="https://www.tate.org.uk/art/artists/barnett-newman-1699" aria-label="More by Barnett Newman" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Barnett Newman</a>
Canto VI
Presented by Mrs Annalee Newman, the artist's widow 1972
abstraction
geometric
lifestyle and culture
monochromatic
non-representational
poetry
society
paper print lithograph
19 March 2002 – 5 January 2003
2003-01-05
20 September 2002 – 5 January 2003
2003-01-05
2002-09-20
Tate Modern (London, UK)
http://www.tate.org.uk/modern/
2002-03-19
Barnett Newman
Exhibition
Canto VI
image: 370 × 330 mm
Presented by Mrs Annalee Newman, the artist's widow 1972
<div class="text1"><span class="Strong">Barnett Newman</span><span> 1905-1970 </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-i-p01027" title="View the details of this artwork"><span>P01027</span></a>-44 </span><span class="Strong">Eighteen Cantos</span><span> 1963-4 </span>
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<div class="text1"><span>Series of eighteen lithographs of various sizes</span>
<br/><span>Presented by Mrs Annalee Newman 1972</span>
<br/><span class="Emphasis">Exh:</span><span>
</span><span class="Emphasis">Series</span><span>, Tate Gallery, December 1977-January 1978 (1)</span>
<br/><span class="Emphasis">Lit:</span><span>
Thomas B. Hess, </span><span class="Emphasis">Barnett Newman</span><span> (New York 1971), pp.126-32, Cantos I, IV, VI, VII, VIII, IX and XIV repr.; Riva Castleman, </span><span class="Emphasis">Modern Prints since 1942</span><span> (London 1973), p.70, Canto VI repr. p.71; Michael Knigin and Murray Zimiles, </span><span class="Emphasis">The Contemporary Lithographic Workshop around the World</span><span> (New York 1974), p.171, Canto III repr. p.176; Riva Castleman, </span><span class="Emphasis">Prints of the Twentieth Century</span><span> (London 1976), p.138 </span>
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<div class="text1"><span class="Strong">P01027</span><span>
</span><span class="Strong">CANTO I</span><span>
1963</span>
<br/><span>Inscribed 'Canto I 14/18' b.l. and 'Barnett Newman 9/63' b.r.</span>
<br/><span>Lithograph, 14 3/4 x 12 3/8 (37.5 x 31.5) on paper 24 7/8 x 20 (63.3 x 51.7) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-ii-p01028" title="View the details of this artwork"><span>P01028</span></a> </span><span class="Strong">CANTO II</span><span>
1963</span>
<br/><span>Inscribed 'Canto II 14/18' b.l. and 'Barnett Newman 9/63' b.r.</span>
<br/><span>Lithograph, 14 3/4 x 12 3/8 (37.5 x 31.5) on paper 16 1/8 x 15 3/4 (41 x 40) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-iii-p01029" title="View the details of this artwork"><span>P01029</span></a> </span><span class="Strong">CANTO III</span><span>
1963</span>
<br/><span>Inscribed 'Canto III 14/18' b.l. and 'Barnett Newman 9/63' b.r.</span>
<br/><span>Lithograph, 14 7/8 x 12 1/2 (37.7 x 31.5) on paper 19 5/8 x 13 1/2 (50 x 35) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-iv-p01030" title="View the details of this artwork"><span>P01030</span></a> </span><span class="Strong">CANTO IV</span><span>
1963</span>
<br/><span>Inscribed 'Canto IV 14/18' b.l. and 'Barnett Newman 10/63' b.r.</span>
<br/><span>Lithograph, 14 3/4 x 12 1/2 (37.5 x 31.8) on paper 20 x 13 7/8 (51 x 35) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-v-p01031" title="View the details of this artwork"><span>P01031</span></a> </span><span class="Strong">CANTO V</span><span>
1963</span>
<br/><span>Inscribed 'Canto V 14/18' b.l. and 'Barnett Newman 11/63' b.r.</span>
<br/><span>Lithograph, 14 3/8 x 12 3/4 (36.5 x 32.5) on paper 19 5/8 x 14 3/4 (50 x 37.5) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-vi-p01032" title="View the details of this artwork"><span>P01032</span></a> </span><span class="Strong">CANTO VI</span><span>
1963</span>
<br/><span>Inscribed 'Canto VI 14/18' b.l. and 'Barnett Newman 11/63' b.r.</span>
<br/><span>Lithograph, 14 1/2 x 12 3/4 (36.7 x 32.5) on paper 16 1/2 x 13 (42 x 33) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-vii-p01033" title="View the details of this artwork"><span>P01033</span></a> </span><span class="Strong">CANTO VII</span><span>
1963</span>
<br/><span>Inscribed 'Canto VII 14/18' b.l. and 'Barnett Newman 12/63' b.r.</span>
<br/><span>Lithograph, 14 1/2 x 12 3/4 (36.7 x 32.5) on paper 16 1/8 x 15 3/4 (41 x 40) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-viii-p01034" title="View the details of this artwork"><span>P01034</span></a> </span><span class="Strong">CANTO VIII</span><span>
1963</span>
<br/><span>Inscribed 'Canto VIII 14/18' b.l. and 'Barnett Newman 12/63' b.r.</span>
<br/><span>Lithograph, 14 1/2 x 13 (36.8 x 33) on paper 18 x 15 3/4 (45.7 x 38.5) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-ix-p01035" title="View the details of this artwork"><span>P01035</span></a> </span><span class="Strong">CANTO IX</span><span>
1964</span>
<br/><span>Inscribed 'Canto IX 14/18' b.l. and 'Barnett Newman 1/64' b.r.</span>
<br/><span>Lithograph, 14 1/2 x 12 7/8 (36.8 x 32.8) on paper 16 1/4 x 15 3/4 (41.5 x 40) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-x-p01036" title="View the details of this artwork"><span>P01036</span></a> </span><span class="Strong">CANTO X</span><span>
1964</span>
<br/><span>Inscribed 'Canto X 14/18' b.l. and 'Barnett Newman 2/64' b.r.</span>
<br/><span>Lithograph, 14 5/8 x 13 (37.2 x 33) on paper 17 3/4 x 14 3/4 (45 x 37.5) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-xi-p01037" title="View the details of this artwork"><span>P01037</span></a> </span><span class="Strong">CANTO XI</span><span>
1964</span>
<br/><span>Inscribed 'Canto XI 14/18' b.l. and 'Barnett Newman 2/64' b.r.</span>
<br/><span>Lithograph, 14 5/8 x 13 (37 x 33) on paper 17 3/4 x 14 7/8 (44.8 x 38) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-xii-p01038" title="View the details of this artwork"><span>P01038</span></a> </span><span class="Strong">CANTO XII</span><span>
1964</span>
<br/><span>Inscribed 'Canto XII 14/18' b.l. and 'Barnett Newman 3/64' b.r.</span>
<br/><span>Lithograph, 14 5/8 x 13 (37 x 33) on paper 17 3/4 x 14 3/4 (45 x 37.5) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-xiii-p01039" title="View the details of this artwork"><span>P01039</span></a> </span><span class="Strong">CANTO XIII</span><span>
1964</span>
<br/><span>Inscribed 'Canto XIII 14/18' b.l. and 'Barnett Newman 3/64' b.r.</span>
<br/><span>Lithograph, 14 5/8 x 13 (37 x 33) on paper 17 3/4 x 14 7/8 (45.2 x 37.8) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-xiv-p01040" title="View the details of this artwork"><span>P01040</span></a> </span><span class="Strong">CANTO XIV</span><span>
1964</span>
<br/><span>Inscribed 'Canto XIV 14/18' b.l. and 'Barnett Newman 4/64' b.r.</span>
<br/><span>Lithograph, 14 5/8 x 12 3/8 (37 x 31.4) on paper 15 7/8 x 13 3/4 (40.4 x 35) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-xv-p01041" title="View the details of this artwork"><span>P01041</span></a> </span><span class="Strong">CANTO XV</span><span>
1964</span>
<br/><span>Inscribed 'Canto XV 14/18' b.l. and 'Barnett Newman 4/64' b.r.</span>
<br/><span>Lithograph, 14 3/4 x 12 1/2 (37.5 x 31.8) on paper 15 1/2 x 14 1/8 (39.3 x 35.8) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-xvi-p01042" title="View the details of this artwork"><span>P01042</span></a> </span><span class="Strong">CANTO XVI</span><span>
1964</span>
<br/><span>Inscribed 'Canto XVI 14/18' b.l. and 'Barnett Newman 4/64' b.r.</span>
<br/><span>Lithograph, 14 3/4 x 12 5/8 (37.4 x 32) on paper 17 1/2 x 13 3/4 (44.3 x 34.8) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-xvii-p01043" title="View the details of this artwork"><span>P01043</span></a> </span><span class="Strong">CANTO XVII</span><span>
1964</span>
<br/><span>Inscribed 'Canto XVII 14/18' b.l. and 'Barnett Newman 4/64' b.r.</span>
<br/><span>Lithograph, 14 3/4 x 12 1/2 (37.5 x 31.7) on paper 17 5/8 x 13 (44.7 x 33) </span>
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<div class="text1"><span><a class="acno-pop" data-gtm-destination="page--artwork" data-gtm-name="body_text_link" href="https://www.tate.org.uk/art/artworks/newman-canto-xviii-p01044" title="View the details of this artwork"><span>P01044</span></a> </span><span class="Strong">CANTO XVIII</span><span>
1964</span>
<br/><span>Inscribed 'Canto XVIII 14/18' b.l. and 'Barnett Newman 4/64' b.r.</span>
<br/><span>Lithograph, 14 5/8 x 12 1/2 (37.3 x 31.8) on paper 25 1/8 x 19 3/4 (63.7 x 50) </span>
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<div class="text1"><span>Newman had been introduced to <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/l/lithography" title="Glossary definition for 'Lithography'"><span>lithography</span></a> by his friend the painter Cleve Gray in 1961 when he made his first lithographs in black and white at the Pratt Graphics Workshop in New York. The present series, which includes his only <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/print" title="Glossary definition for 'Print'"><span>prints</span></a> in colour, was made in 1963-4 at Universal Limited Art Editions, West Islip, New York, with the encouragement of publisher Tatyana Grosman. </span>
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<div class="text1"><span>In his introductory text, dedicated to his wife Annalee and dated '4/64', Newman explained that lithography posed for him the challenge of the relationship between the imprint and the <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/paper" title="Glossary definition for 'Paper'"><span>paper</span></a> it is on, with the inevitable intrusion of the paper frame: </span>
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<div class="text1"><span>'To crop the extruding paper or to cover it with a mat or to eliminate all margins by "bleeding" (printing on papers smaller than the <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/d/drawing" title="Glossary definition for 'Drawing'"><span>drawing</span></a> on the stone) is an evasion of this fact. It is like cropping to make a <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/painting" title="Glossary definition for 'Painting'"><span>painting</span></a>. It is success by mutilation. </span>
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<div class="text1"><span>'The struggle to overcome this intrusion - to give the imprint its necessary scale so that it could have its fullest expression, (and I feel that the matter of scale in a lithograph has usually not been considered) so that it would not be crushed by the paper margin and still have a margin - that was the challenge for me. That is why each canto has its own personal margins. In some, they are small, in others large, still in others they are larger on one side and the other side is minimal. However, no formal rules apply. Each print and its paper had to be decided by me and in some cases the same print exists with two different sets of margins because each imprint means something different to me. In painting, I try to transcend the size for the sake of scale. So here I was faced with the problem of having each imprint transcend not only its size but also the white frame to achieve this sense of scale. </span>
<br/></div>
<div class="text1"><span>'These eighteen cantos are then single, individual expressions, each with its unique difference. Yet since they grew one out of the other, they also form an organic whole - so that as they separate and as they join in their interplay, their symphonic mass lends additional clarity to each individual canto, and at the same time, each canto adds its song to the full chorus. </span>
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<div class="text1"><span>'I must explain that I had no plan to make a <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/p/portfolio" title="Glossary definition for 'Portfolio'"><span>portfolio</span></a> of "prints". I am not a printmaker. Nor did I intend to make a "set" by introducing superficial variety. These cantos arose from a compelling necessity - the result of grappling with the instrument. </span>
<br/></div>
<div class="text1"><span>'To me that is what lithography is. It is an instrument. It is not a "<a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/m/medium" title="Glossary definition for 'Medium'"><span>medium</span></a>"; it is not a poor man's substitute for painting or for drawing. Nor do I consider it to be a kind of translation of something from one medium into another. For me, it is an instrument that one plays. It is like a piano or an orchestra, and as with an instrument, it interprets. And as in all the interpretive arts, so in lithography, creation is joined with the "playing"; in this case not of bow and string, but of stone and press. The definition of a lithograph is that it is writing on stone. But unlike Gertrude Stein's rose, the stone is not a stone. The stone is a piece of paper. </span>
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<div class="text1"><span>'I have been captivated by the things that happen in playing this litho instrument; the choices that develop when changing a color or the paper-size. I have "played" hoping to evoke every possible instrumental lick. The prints really started as three, grew to seven, then eleven, then fourteen, and finished as eighteen. Here are the cantos, eighteen of them, each one different in <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/f/form" title="Glossary definition for 'Form'"><span>form</span></a>, mood, color, beat, scale and key. There are no cadenzas. Each is separate. Each can stand by itself. But its fullest meaning, it seems to me, is when it is seen together with the others ...' </span>
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<div class="text1"><span>An explanatory sheet (colophon) at the back gives the following additional information: </span>
<br/></div>
<div class="text1"><span>'A volume to be used as a book, boxed, containing nineteen original lithographs, consisting of 18 Cantos and a title page by Barnett Newman, together with a preface written by the artist and a colophon page, and dedicated to Annalee Newman. The <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/e/edition" title="Glossary definition for 'Edition'"><span>edition</span></a> consists of eighteen volumes of which this volume is Number 14 [14 written in]. The papers used are British, French Angoumois and Japanese hand-made papers. The artist used American and French inks - straight, without mixing. The lithographs were printed on a handpress by Zigmunds Priede in the studio of Universal Limited Art Editions, publisher, West Islip, Long Island, New York. All the stones are effaced. Each lithograph is signed and numbered by the artist and <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/e/embossed" title="Glossary definition for 'Embossed'"><span>embossed</span></a> with the seal of the publisher. The box is hand-made by Mrs Caroline Horton, bound in <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/v/vellum" title="Glossary definition for 'Vellum'"><span>vellum</span></a> with the artist's initials drawn by him and embossed. Typography and page-design of the preface and colophon are by Herbert Matter. Publication was directed by Tatyana Grosman.' </span>
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<div class="text1"><span>Mrs Grosman told the compiler in June 1977 that she met Newman for the first time at a party at Rauschenberg's, and he said that he would like to come and see her workshop. When he first began, he only intended to make three prints, but the number grew by stages to fourteen and then to eighteen. They even went so far as to make a frontispiece for fourteen. Finally he changed to eighteen, a number he said he liked as it is in Hebrew a symbol for life. His original intention was to cut off the margins and treat the prints like his paintings, but she remarked to him that lithographs should not be replicas of paintings and that one ought to respect the paper. From then on he took the prints home with him and spent many days trying out different margins, by bending the edges of the sheet. Once he was satisfied, the paper for that particular print had to be ordered to that specific size. Cantos V and VI were actually printed from the same stone, with identical images, with and without margins. When the lithographs were printed, he gave a great deal of thought to where they should be signed, and with what kind of <a class="glossarylinktopopup" data-gtm-destination="article-page" data-gtm-name="body_text_link" href="http://www.tate.org.uk/learn/online-resources/glossary/g/graphite" title="Glossary definition for 'Graphite'"><span>pencil</span></a>, and then to where Universal Limited Art Edition's embossed seal should go. A phone call was put through to the State Department in Washington to check that the official seal on bank notes was placed over the signature of the Treasurer, and the same procedure was followed in embossing the prints. </span>
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<div class="text1"><span>The following technical information about the prints, with particulars of the stones used, the colours of the inks, the type of paper etc. was supplied by Universal Limited Art Editions in January 1978 after consultation with Zigmunds Priede who printed them. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Title Page</span>
<br/><span>Two stones, Rouge Cardinal and Noir Velours. Angoumois paper, 25 1/2" x 19 1/2" (watermarked with the publisher's seal). Signed: 4/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Preface</span>
<br/><span>Typography. Japan (Shogun) paper, 22 1/2" x 17 1/2". </span>
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<div class="text1"><span class="Emphasis">Canto I</span>
<br/><span>One stone. American white (mixed). Chatham British hand-made paper, 25" x 20". Signed: 9/63. </span>
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<div class="text1"><span class="Emphasis">Canto II</span>
<br/><span>Two stones (background stone as </span><span class="Emphasis">I</span><span>). American black and Bleu Outremer. Angoumois paper, 16 1/2" x 16". Signed: 9/63. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto III</span>
<br/><span>One stone (as </span><span class="Emphasis">I</span><span>
and </span><span class="Emphasis">II</span><span>). American black. Japan (Shogun) paper, 19 1/2" x 14". Signed: 9/63. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto IV</span>
<br/><span>Two stones (as </span><span class="Emphasis">II</span><span>). American black and Noir Velours. Chatham British hand made paper, 20" x 14". Signed: 10/63. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto V</span>
<br/><span>One stone. American black. Angoumois paper, 19 1/2" x 14 1/2". Signed: 11/63. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto VI</span>
<br/><span>One stone (as </span><span class="Emphasis">V</span><span>). American black. Angoumois paper, 16 1/2" x 13". Signed: 11/63. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto VII</span>
<br/><span>Two stones (as </span><span class="Emphasis">V</span><span>
and </span><span class="Emphasis">VI</span><span>, reworked). Bleu Outremer and Ultramarine Blue. Angoumois paper, 16 1/2" x 15 1/2". Signed: 12/63. Note: The overprint stone (crayon) was used in Cantos </span><span class="Emphasis">X-XVIII</span><span>. </span>
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<div class="text1"><span class="Emphasis">Canto VIII</span>
<br/><span>Two stones. Bleu Outremer (right) and Ultramarine Blue (left). Angoumois paper, 17 1/2" x 15". Signed: 12/63. </span>
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<div class="text1"><span class="Emphasis">Canto IX</span>
<br/><span>Two stones. Bleu Outremer (right) and American black. Angoumois paper, 16" x 15 1/2". Signed: 1/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto X</span>
<br/><span>Two stones (background stone as </span><span class="Emphasis">IX</span><span>, overprint stone as </span><span class="Emphasis">VIII</span><span>). Deep Cadmium Yellow and Ultramarine Blue. Japan (Shogun) paper, 18" x 15". Signed: 2/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto XI</span>
<br/><span>Two stones (as </span><span class="Emphasis">X</span><span>). Jaune Primavère and Ultramarine Blue. Japan paper, 18" x 15". Signed: 2/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto XII</span>
<br/><span>Two stones (as </span><span class="Emphasis">X</span><span>
and </span><span class="Emphasis">XI</span><span>). Jaune Primavère and Bleu Outremer. Japan paper, 18" x 14 1/2". Signed: 3/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto XIII</span>
<br/><span>Two stones (as </span><span class="Emphasis">X-XII</span><span>). Deep Cadmium Yellow and Bleu Outremer. Japan paper, 18" x 14 1/2". Signed: 3/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto XIV</span>
<br/><span>Two stones (as </span><span class="Emphasis">X-XIII</span><span>). Rouge Rubis and American red. Angoumois paper, 16 1/2" x 13 1/2". Signed: 4/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto XV</span>
<br/><span>Two stones (as </span><span class="Emphasis">X-XIV</span><span>). Laque de Garence and Rouge Cardinal. Japan paper, 15 1/4" x 13 1/2". Signed: 4/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto XVI</span>
<br/><span>Two stones (as </span><span class="Emphasis">X-XV</span><span>). Laque de Garence and American red. Angoumois paper, 17 1/2" x 13 3/4". Signed: 4/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto XVII</span>
<br/><span>Two stones (as </span><span class="Emphasis">X-XVI</span><span>). American red and Rouge Cardinal. Japan paper, 17 1/2" x 13". Signed: 4/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Canto XVIII</span>
<br/><span>Two stones (as </span><span class="Emphasis">X-XVII</span><span>). American red and Rouge Rubis. Angoumois paper, 25" x 19 1/2". Signed: 4/64. </span>
<br/></div>
<div class="text1"><span class="Emphasis">Colophon</span>
<br/><span>Typography. Angoumois paper, 22 1/2" x 17 1/2". </span>
<br/></div>
<div class="text1"><span class="Strong">Published in:</span>
<br/><span>Ronald Alley, </span><span class="Emphasis">Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists</span><span>, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.557-61</span>
<br/></div>

Catalogue entry
2004-09-21T00:00:00
catalogue-entry
CATALOGUE_ENTRY
abstraction geometric lifestyle and culture monochromatic non-representational poetry society