This painting is recorded in Manierre Dawson, A Catalogue Raisonne under the number 1915.09.
Signature: Signed and dated lower right: "Dawson '15"
"Manierre Dawson: Painter, Sculptor, 1887-1969," Sarasota Art Association, Florida, December 13-31, 1975
"Manierre Dawson: American Pioneer of Abstract Art," Hollis Taggart Galleries, New York, October 1-30, 1999
"Manierre Dawson: Painter, Sculptor, 1887-1969" (exh. cat.). Sarasota, Florida: Sarasota Art Association, 1975, cat. no. 59.
"Manierre Dawson: American Pioneer of Abstract Art" (exh. cat.). Foreword by Hollis Taggart and Vivian Bullaudy; essays by Henry Adams and Randy J. Ploog. New York: Hollis Taggart Galleries, 1999, plate 51.
"Manierre Dawson: New Revelations" (exh. cat.). Essays by Randy J. Ploog and Henry Adams; exh. curated by Vivian Bullaudy, Myra Bairstow, and Dennis Rosenthal. New York: Hollis Taggart Galleries, 2003, p. 15, illus. p. 17, fig. 13.
Ploog, Randy. "Portrais of the Artist as a Young Engineer." IIT Magazine (Illinois Institute of Technology) (Spring 2005), p. 15, illus. p. 13, fig. 2.
Estate of the artist
Dr. Lewis Obi, Frank McKeown, and Lefferts Mabie, 1978
Private Collection, New York, 1991
Private Collection, 2000
About Manierre Dawson
Manierre Dawson’s abstract paintings and sculptures incorporate simplified mathematical and geometric shapes, such as hyperbolas, parabolas, and circles, into muted, non-representational compositions. Non-objective and lacking any central subject matter, his works often suggest fragmented landscapes or the movement of the human body, paralleling the work of contemporaries Marcel Duchamp and Umberto Boccioni. Dawson is considered one of the pioneers of American abstraction. Later in his career he would become an early experimenter with mixed-media sculpture, working in laminated particleboard, wood composites, and found materials.
American, 1887-1969, Chicago, Illinois