oil on canvas
83.3 x 72.7
SIGN UP or
signed with monogram and dated 24
Dresden Kunstgenossenschaft, Secession, July-September 1924, p. 43, no. 418. Wiesbaden, Neues Museum; Barmen; Bochum and Dusseldorf, Nierendorf Gallery, January-November 1925, no. 16.New York, College Art Association, Kandinsky: A Retrospective View, 1937, no. 4 (titled Composition 271). New York, Nierendorf Gallery; Cleveland, Museum of Art and Cambridge, Germanic Museum of Harvard University, Kandinsky, 1937, no. 4. New York, Nierendorf Gallery, Group Exhibition, April-May 1939. New York, Nierendorf Gallery, Kandinsky, March 1941, no. 6. New York, Nierendorf Gallery, Works by Kandinsky, December 1942-February 1943. New York, The Museum of Non-Objective Painting, In Memory of Wassily Kandinsky, 1945, p. 106, no. 78. New York, The Solomon R. Guggenheim Museum; Paris, Muse national d'art moderne, Centre Georges Pompidou and The Hague, Gemeentemuseum, Vasily Kandinsky: A Retrospective Exhibition, January-April 1962, p. 70, no. 54 (illustrated in color, p. 78). Cambridge, Busch-Reisinger Museum, Harvard University, Bauhaus Faculty, November-December 1966, p. 19. New York, The Solomon R. Guggenheim Museum, Kandinsky, Klee, Feininger: 3 Bauhaus Painters, 1970. Baden-Baden, Staatliche Kunsthalle, Wassily Kandinsky: Gemlde, 1900-1944, July-September 1970, no. 56 (illustrated in color). New York, The Solomon R. Guggenheim Museum; Los Angeles County Museum of Art and Minneapolis, Walker Art Center, Vasily Kandinsky, 1972 (illustrated). Munich, Haus der Kunst, Wassily Kandinsky, November 1976-January 1977, p. 82, no. 63 (illustrated, p. 87). New York, The Solomon R. Guggenheim Museum of Art, Concentrations I: Nine Modern Masters from The Guggenheim Museum and Thannhauser Collections, 1974.Venice, Palazzo Grassi, The Solomon R. Guggenheim Museum, Thannhauser Collection: From Van Gogh to Picasso, From Kandinsky to Pollock, Masterpieces of Modern Art, 1990, p. 248, no. 64 (illustrated in color, p. 249). Montreal, Museum of Fine Arts, Masterpieces from The Guggenheim, February-April 1992, p. 188, no. 66 (illustrated in color). Seattle, Pivot Art + Culture, Color & Pattern, April-July 2017.
The Artist's Handlist II, no. 271. W. Grohmann, Wassily Kandinsky: Life and Work, New York, 1958, p. 334, no. 159 (illustrated, p. 362). A.Z. Rudenstine, The Guggenheim Museum Collection: Paintings 1880-1945, New York, 1976, vol. 1, p. 314, no. 107 (illustrated, p. 315; detail of the reverse illustrated, p. 314). B. Sell Tower, Klee and Kandinsky in Munich and at the Bauhaus, Ann Arbor, 1981, p. 144 (illustrated, p. 152, fig. 30). V.E. Barnett, Kandinsky at the Guggenheim, New York, 1983, p. 168, no. 93 (illustrated; titled Deep Brown, No. 271). H.K. Roethel and J.K. Benjamin, Kandinsky: Catalogue Raisonn of the Oil Paintings, 1916-1944, London, 1984, vol. 2, p. 670, no. 714 (illustrated).G. Levin and M. Lorenz, Theme and Improvisation: Kandinsky and the American Avant-Garde, 1912-1950, exh. cat., The Phillips Collection, Washington, D.C., 1992, p. 214 (illustrated, fig. 6.7).G. Faigin, Review: Who Knew? Paul Allen Collection Does Abstration at Pivot Art + Culture" in The Seattle Times
Karl Nierendorf, New York (by 1937). The Solomon R. Guggenheim Museum, New York (acquired from the estate of the above, 1948).Acquired from the above by the late owner, 7 March 2000.