Lot 20 : l - MARK ROTHKO

Mark Rothko - 1903-1970

Auction Location: United States of America - 2004
Please sign in or subscribe to Artfact Premium or Artfact Fine Art to see auction date and house information.

Please sign in or subscribe to Artfact Premium or Artfact Fine Art to view enlarged images.

Title:

NO. 6 (YELLOW, WHITE, BLUE OVER YELLOW ON GRAY)

Date:

1903-1970

Description:

signed and dated 1954 on the reverse; numbered #5102.54 on the stretcher

oil on canvas

Dimensions:

94 1/2 by 59 3/4 in. 240 by 151.8 cm.

Provenance:

Estate of the artist (#5102.54)
Marlborough A.G., Liechtenstein/Marlborough Gallery, Inc., New York
Baron Leon Lambert, Brussels (acquired from the above in 1972)
Christie's, New York, May 5, 1987, lot 8
Gallery Urban, Nagoya, New York and Paris (acquired from the above)
Private Collection, New York (acquired from the above in 1991)
C&M Arts, New York (acquired from the above in 1994)
Mr. and Mrs. Dennis Alter, Pennsylvania
C&M Arts, New York
Acquired by the present owner from the above

Exhibited:

Chicago, The Art Institute of Chicago, Gallery of Art Interpretation; Providence, Rhode Island School of Design, Recent Paintings by Mark Rothko, October 1954 - February 1955
Zurich, Kunsthaus Zurich; Berlin, Staatliche Museen Preussischer Kulturbesitz Neue Nationalgalerie; Düsseldorf, Städtische Kunsthalle Düsseldorf; Rotterdam, Museum Boymans-van-Beuningen; London, Hayward Gallery, Mark Rothko, March 1971 - March 1972, cat. no. 35, p. 61, illustrated in color (titled Yellow, White, Blue over Yellow on Gray)
Basel, Galerie Beyeler, Landscapes and Horizons, October - December 1987, cat. no. 36

Published:

"We Didn't Want You to Miss This", Chicago Daily News, 15 January 1955, Roto Saturday Supplement section, p. 16, illustrated
Art in America 75, April 1987, p. 35, illustrated in color
David Anfam, Mark Rothko, The Works on Canvas: Catalogue Raisonné, New Haven and London, 1998, pp. 72-73 and cat. no. 505, p. 388, illustrated in color

Notes:

Since my pictures are large, colorful and unframed, and since museum walls are usually immense and formidable, there is the danger that the pictures relate themselves as decorative areas to the walls. This would be a distortion of their meaning, since the pictures are intimate and intense, and are the opposite of what is decorative.