Robert Motherwell, ‘Samurai II’, 1980, Bernard Jacobson Gallery

CR 245
Samurai II, 1980
lithograph and chine appliqué
57 x 24 1/2 in. (144.8 x 62.2 cm)
Paper:Two joined sheets of natural Nepal handmade paper; natural Sekishu handmade paper
Signature:Signed "RM" in black ink upper left
Inscriptions:Numbered in black ink upper left; workshop chop mark lower right; workshop number "RM79-390" in pencil reverse lower left
Proofs:1 archive proof
16 AP, numbered I/XVI-XVI/XVI
1 CP
1 PP
4 TP, numbered 1/4-4/4
Publisher:Tyler Graphics Ltd., Bedford Village, New York
Printer:Lee Funderburg, Tyler Graphics Ltd.
Other Collaborators:Stone preparation and processing by Kenneth Tyler; proofing by Funderburg; screen preparation by Kim Halliday; paper preparation and adhering by Halliday and Steve Reeves
Production Sequence:2 colors (including 1 colored paper) in 2 steps from 1 stone; 1. black - stone (on Sekishu paper); 2. Sekishu paper adhered to two joined sheets of Nepal paper (chine appliqué)
Concordance:B 213; TGL 401 RM20

Signature: Signed "RM" in black ink upper left

Publisher: Tyler Graphics Ltd., Bedford Village, New York

Siri Engberg and Joan Banach 'Robert Motherwell: The Complete Prints 1940-1991. Catalogue Raisonne', Walker Art Center and Hudson Hills Press, New York, 2003 (illustrated pl. 245, p. 214)
ISBN: 1-55595-163-5

About Robert Motherwell

Alongside Jackson Pollock, Mark Rothko, and Willem de Kooning, Robert Motherwell is considered one of the great American Abstract Expressionist painters. His esteemed intellect not only undergirded his gorgeous, expressive paintings—frequently featuring bold black shapes against fields of color—but also made Motherwell one of the leading writers, theorists, and advocates of the New York School. He forged close friendships with the European Surrealists and other intellectuals over his interests in poetry and philosophy, and as such served as a vital link between the pre-war avant-garde in Europe and its post-war counterpart in New York, establishing automatism and psychoanalysis as central concerns of American abstraction. "It's not that the creative act and the critical act are simultaneous," Motherwell said. "It's more like you blurt something out and then analyze it.

American, 1915-1991, Aberdeen, Washington, based in New York and Greenwich, Connecticut