Stuart Davis 1892-1964

Estate of the artist
Grace Borgenicht Gallery, New York
Owings-Dewey Fine Art, Santa Fe, New Mexico
Acquired by the present owner from the above, 2000

Brooklyn, New York, The Brooklyn Museum, Stuart Davis: Art and Art Theory, January-March 1978, no. 10, p. 99, illustrated
Los Angeles, California, Esther-Robles Gallery, Stuart Davis: Paintings-Early Twenties, April-May 1979, no. 4, illustrated p. 5
New York, Salander-O'Reilly, Stuart Davis: The Breakthrough Years, November-December 1987, no. 19, illustrated in color pl. 19
Koriyama, Japan, Koriyama City Museum of Art; Shiga, Japan, The Museum of Modern Art; Tokyo, Japan, Metropolitan Teien Art Museum, Stuart Davis: Retrospective, July-November 1995, no. 47, p. 89, illustrated in color

Patterson Sims, Stuart Davis: A Concentration of Works from the Permanent Collection of the Whitney Museum of American Art, New York, 1980, p. 13, illustrated
Patricia Janis Broder, The American West: The Modern Vision, Boston, Massachusetts, 1984, p. 122, illustrated p. 121
Sharyn Rohlfsen Udall, Modernist Painting in New Mexico, 1913-1935, Albuquerque, New Mexico, 1984, p. 160, illustrated p. 161
Lowery Stokes Sims, Stuart Davis, American Painter, New York, 1991, pp. 23-24, illustrated in color
Patricia Hills, Stuart Davis, New York, 1996, pp. 64, 69, illustrated in color p. 64
Ani Boyajian and Mark Rutkoski, Stuart Davis: A Catalogue Raisonné, vol. III, New Haven, Connecticut, 2007, no. 1498, p. 143, illustrated in color

Very good condition; a few minor pindots of loss, under UV: fine.
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While Stuart Davis was in New Mexico in 1923, he continued to experiment with his Cubist ideas about space-color compositions. Patricia Hills writes: "He developed a series of small oil-on-board figural paintings, composed of flat areas of gray with some color, such as Indian Family and Interior. With Mexican Girls, Davis used only a warm pewter gray hue in four tonal variations, but suggested yet other tones through stippling darker gray over lighter gray.... Contrary to his usual practice of using color to suggest space, here the tones seem decorative, to balance the four quadrants of the painting" (Stuart Davis, 1996, pp. 64, 69).