- Kay Sage
- Le Passage
- signed Kay Sage and dated '56 (lower right); signed Kay Sage, titled, dated '56 and inscribed Woodbury, Conn. on the stretcher
- oil on canvas
Acquired from the above by the late owner on 21st November 1958
New York, Catherine Viviano Gallery, Kay Sage: Retrospective Exhibition, 1937-1958, 1960, no. 50, illustrated in colour in the catalogue
Ithaca, New York, Herbert F. Johnson Museum of Art, Cornell University; College Park, Art Gallery, University of Maryland & Albany, Albany Institute of History and Art, Kay Sage, 1898-1963, 1977, no. 55, illustrated in the catalogue
Lausanne, Musée Cantonal des Beaux-Arts, La Femme et le Surréalisme, 1987-88, illustrated in the catalogue
Athens, Georgia, Georgia Museum of Art; San Antonio, The Marion Koogler McNay Art Museum; Long Beach, Long Beach Museum of Art & Allentown, Allentown Art Museum, High Drama: Eugene Berman and the Legacy of the Melancholic Sublime, 2005-06, no. 35, illustrated in colour in the catalogue
Jessica Amanda Salmonson (ed.), What Did Miss Darrington See?: an Anthology of Feminist Supernatural Fiction, New York, 1989, illustrated in colour on the cover
Whitney Chadwick & Isabelle de Courtivron (eds.), Significant Others, New York & London, 1993, illustrated p. 149
Robert J. Belton, The Beribboned Bomb: the Image of Woman in Male Surrealist Art, Calgary, 1995, illustrated p. 267
Judith D. Suther, A House of Her Own: Kay Sage, Solitary Surrealist, London, 1997, illustrated in colour opposite p. 185
Stephen Robeson Miller & Kay Sage, The Biographical Chronology and Four Surrealist One-Act Plays, New York, 1983/2011, listed in the section for 1956
Michael Duncan wrote: ‘[Tanguy] and Sage were one of the past century’s great artistic couples, thriving on each other’s refined aestheticism. After Tanguy’s sudden death in 1955, Sage suffered from vision problems and eventually stopped painting. Le Passage, her last self-portrait, expressing her devastating loneliness, presents an inward-turning figure, back to the viewer, who faces a barren plain of flat shards’ (M. Duncan in High Drama: Eugene Berman and the Legacy of the Melancholic Sublime (exhibition catalogue), op. cit., p. 108).
The present work by Kay Sage was sold to Stanley J. Seeger by the New York dealer Catherine Viviano in 1958. Seeger, a quiet, immensely private man, was one of the greatest collectors of his generation, whose remarkable eye led him to acquire an outstanding collection of works of art from Old Masters to contemporary painters. He was introduced to Kay Sage by Viviano in the late 1950s and a lasting friendship resulted between artist and collector.