+ Expand

Provenance: The Estate of the Artist
Marlborough-Gerson Gallery, New York
Marlborough Fine Art, London, where acquired by the present owner in December 2004

+ Expand

Exhibited: New York, Marlborough Gallery, 1967;
Zurich, Kunsthause Zurich, Reliefs, 22nd August - 2nd November 1980, cat. no.165;
Calais, Musee des Beaux Art et de la Dentelle, 1985, cat. no.366;
New York, Center for International Contemporary Arts, Victor Pasmore: Nature into Art, 9th November 1990 - 17th February 1991, cat. no.12, illustrated pl.9;
Kendal, Abbot Hall Art Gallery, Victor Pasmore, 5th April 1992, cat. no.13.

+ Expand

Literature: Alan Bowness and Luigi Lambertini, Victor Pasmore with a Catalogue Raisonne of the Paintings, Constructions and Graphics 1926 - 1979, Thames and Hudson, London, 1980, cat. no.364, illustrated p.114.

+ Expand

Notes: 'True painting, in any form, always develops a concrete existence of its own, independent of what it represents. But, if painting is to manifest itself completely free from visual representation then this principle becomes absolute.
To emphasize this condition unequivocally I started by abandoning the paintbrush, with its illusionistic associations, and adopted the paper collage technique of early Cubism in which the painting was built forward from the picture-plane. This affirmation of the concrete surface and pigmental substance of painting led to the notion of constructing a picture like a carpenter constructs a box with wood, saw, hammer and nails. Hence the collage developed into relief...'
Victor Pasmore, quoted in Bowness and Lambertini, op.cit., p.100.