Sonia Delaunay: Simultaneity

SONIA DELAUNAY

SONIA DELAUNAY Simultaneity

In association with Galerie Zlotowski, Paris Essay by Isabelle Dervaux

Jill Newhouse Gallery 4 East 81st Street New York, NY Tel (212) 249-9216 info@jillnewhouse.com www.jillnewhouse.com

The artist and friends in her husband's studio, Paris, 1924. © Pracusa20240531

This catalogue accompanies a collaborative exhibition with Galerie Zlotowski, Paris on view January 31 to March 7, 2025 at

Jill Newhouse Gallery 4 East 81st Street New York, NY 10028 Tel (212) 249-9216 info@jillnewhouse.com www.jillnewhouse.com

front cover: Sonia Delaunay in 1923. © Pracusa20240531 opposite: Composition—Tapestry Design, 1940–42 (cat. no. 11) back cover: The artist’s identity card, April 15, 1943 © Pracusa20240531

Catalogue © 2025 Jill Newhouse LLC Reproductions of works and photographs of Robert and Sonia Delaunay are authorised by Pracusa S.a. with the mention © Pracusa 20240531. Design By Lawrence Sunden, Inc.

JILL NEWHOUSE

Note on the Exhibition As the gallery begins our 45th year in business, it seems appropriate to be celebrating with an exhibition of works on paper by Sonia Delaunay. Though not often shown in the United States, Sonia Delaunay’s work has a critical place in the history of modern art, not just for her innovative contributions to art and design, but also for the unique ways in which she met the challenges she faced as a female artist in early twentieth century France. Sonia Delaunay herself traced her inspiration to work abstractly to a quilt she sewed by hand for her baby son in 1911 (now in the collection of the Musé e d’Art Moderne, Paris), an apt beginning for a female artist whose work would continue to be connected to textile design. Delaunay went on to produce paintings, works on paper, textile designs, fashion sketches, and graphic designs, an unusually broad array of media for any artist. Working alongside her husband, Robert Delaunay, in inventing an artistic movement that was a coda to Cubism, Sonia Delauanay’s own innovations are in the use of color and its interplay to portray the dynamism of what was then modern life. Perhaps even more unique but equally significant was Sonia Delaunay’s ability to merge fine and decorative arts, something that is especially pertinent to art being made today. In her designs for textiles, particularly her colorful and vibrant fabric patterns, we recognize a radical break from traditional patterns that reflects the modernist sensibility of the rapidly changing world she lived in between and during the two World Wars. Delaunay’s work in fashion, place her then and now at the intersection of the fine and decorative arts. Her success in environments that did not traditionally value women’s artistic achievements was groundbreaking. As a highly visible and respected figure in Parisian art circles, she defied the gender norms of her time and created a model for future generations of female artists. This same collaborative spirit has inspired the gallery over the years and we are greatly appreciative to have worked on this project with Michel and Yves Zlotowski, Isabelle Dervaux, Richard Riss for expertise, Amelia Gorman in the gallery, Christa Savino for catalogue organization, and to Larry Sunden for catalogue design.

Color is the skin of the world.

— Sonia Delaunay

Jill Newhouse January 2025

Sonia Delaunay and the United States

Sonia Delaunay never traveled to the United States. “I never wanted to go there,” she declared to an interviewer in 1970. “I don’t like the mechanical side of things there.” But she had many American friends and collaborators and, throughout her career, she remained keen on expanding her reputation across the Atlantic, both in the fashion trade and as an artist. The first time Sonia Delaunay’s name appeared in the American press was in advertisements for her fabric designs in the 1920s. As her textile business was growing in Europe, she began marketing her products to American companies. Her simultané brand, characterized by brightly colored geometric patterns, was trademarked in the U.S. in 1925. The same year, her highly publicized participation in the Exposition internationale des arts décoratifs et industriels modernes in Paris boosted her international reputation and earned her a new clientele of wealthy American women attracted to avant garde fashion. Socialites, actresses, and other celebrities who travelled to Paris regularly sought to have clothes made for them by Delaunay. The film star Gloria Swanson commissioned a coat from her. When the young art dealer Edith Halpert, a friend of Delaunay’s, wore a dress Delaunay had made for her, she was surprised by the reactions of envy from her clients. Abby Aldrich Rockefeller—one of the founders of the Museum of Modern Art—explained

Sonia Delaunay in 1902 . © Pracusa20240531

to her, “Many of these women who go abroad, … that’s their dream to have a Delaunay dress or coat. . . . Delaunay clothes are something only a few people can afford.” Indeed, Sonia’s business was the main source of income for the Delaunay couple throughout the 1920s, until the 1929 stock-market crash put an end to it. Although she continued producing and selling textile designs, Delaunay closed her fashion workshop and devoted more time to making art. Overshadowed, however, by her husband’s reputation, she struggled to be recognized as an artist. American collectors, such as John Quinn and Albert Eugene Gallatin, who began collecting Robert’s works in the 1920s, didn’t seem to be aware—or chose to ignore—that Sonia painted too. Despite her pioneering role in the Orphism movement and the beginnings of abstraction in Paris in the early 1910s, Sonia had not been invited to participate in the 1913 Armory Show, where Robert had three paintings, nor was she included in MoMA’s 1936 landmark exhibition Cubism and Abstract Art , in which Robert was represented with six works. In Sonia Delaunay’s archives (now at the Bibliothèque Kandinsky at the Centre Pompidou) the files of her correspondence with American museums document primarily the curators’ efforts at acquiring paintings by Robert, especially after his death in 1941. When American dealers first contacted Sonia after the war, they were motivated by the desire to have access to Robert’s works, for which there was increasing demand. Sonia’s work was first shown in New York in Sidney Janis’s 1949 exhibition Artists: Man and Wife, which featured several artist couples. Around the same time, the dealer Rose Fried contacted Sonia expressing

Dress Design, 1923 (cat. no. 9)

sold to collectors eventually found their way into institutions. Thus the important 1914 collage, Solar Prism , which entered the National Gallery of Art in Washington in 2007 as a gift of the Judith Rothschild Foundation, had been bought in 1956 by Robert and Nanette Rothschild from Fried, who had featured it that year in an exhibition entitled International Collage , next to pieces by Henri Matisse, Pablo Picasso, and Kurt Schwitters. “I am having a lot of success now,” Delaunay wrote to Fried in 1958, “but America doesn’t know it yet.” Throughout the 1950s, her reputation had been growing in Europe, culminating with her first museum retrospective, at Bielefeld, Germany, in 1958, and exhibitions at the Louvre in 1964 and Paris’s Mus e national d’art moderne in 1967. Delaunay had become the grande dame of French abstraction. In 1970, Pr sident Pompidou presented one of her paintings to President Nixon during a state visit. The event was barely noticed in the American press, but Delaunay did finally achieve recognition in the United States during the following decade. Feminism’s second wave may have played a role in it, but so did the popularity of the Pattern and Decoration movement, which from the mid-1970s to the early 1980s, brought vibrant patterns and craft techniques into avant-garde painting. Indeed a central theme in Delaunay’s reception in the U.S. was the hierarchy between fine and applied art. In the first English monograph about her, published in 1975, Arthur A. Cohen focused on her activity as a painter,

interest in representing Robert. Eventually, Fried started showing Sonia’s paintings as well and, in 1955, she organized Sonia’s first solo show in the U.S.—coinciding with a retrospective of Robert’s work at the Guggenheim Museum the same year. It is true that following Robert’s death Sonia chose to focus her attention on promoting his work and reputation, rather than advancing her own career. There is no doubt, however, that gender discrimination—especially in the case of a woman married to a well-known artist—contributed to her being marginalized. In October 1955, Rose Fried, writing to Sonia that she had a hard time selling her works, added: “Recently I had a talk with one of our top Museum directors who insisted that he would not acquire ‘women’ painters.” Fried managed nevertheless to place several of Sonia’s paintings in museum collections by convincing some of her clients to donate them. “I have had little—(almost none)—income from sales of your work,” she wrote to Sonia in 1956; “I have rather tried to get works into museums as gifts.” It is through her initiative that MoMA acquired the 1915 painting, Portuguese Market , as a gift of Theodore R. Racoosin, to whom Fried gave it for the museum. Fried also convinced Racoosin to purchase and donate the superb 1913 oil on canvas Electric Prisms to the Farnsworth Museum at Wellesley. “Just between us, Sonia, I practically gave this picture away to accompany a Klee and other works which my client was willing to purchase for presentation to a museum,” Fried wrote to Delaunay. Fried’s efforts also paid off later when works she

was allowed to go to waste.” The exhibition nevertheless was a milestone in Delaunay’s reception and generated a demand for her works. The same year the Museum of Modern Art purchased an important group of five watercolors from the early 1920s. The debate shifted in the 21st century, when art historians reassessed the role of craft and design in the development of the avant-gardes, upending traditional hierarchies between high art and applied art. The multimedia practices of artists such as Sophie Taeuber-Arp, Anni Albers, and Sonia Delaunay were reconsidered as major forces in the evolution of abstraction. This was the central tenet of the last two New York museum exhibitions devoted to Delaunay. In 2011, the Cooper Hewitt’s Color Moves: Art and Fashion by Sonia Delaunay highlighted her textiles and fashion work from the 1920s through the 1940s, and in 2024, Sonia Delaunay: Living Art, at the Bard Graduate Center Gallery, foregrounded the role of fashion design in her artistic production, illuminating the influence of her textile and other decorative work on her paintings, rather than the other way around. In today’s art world, in which the boundaries between disciplines are more fluid than ever before, Delaunay’s creativity across media has acquired heightened relevance.

introducing her as a precursor to 1960s American artists such as Frank Stella and Ellsworth Kelly. In fact, Cohen blamed Delaunay’s success in the fashion field for her lack of recognition as an artist: “The irony of this phase of her career,” he wrote about the 1920s, “is that while it brought her international attention and acclaim . . . and considerable financial success, it resulted in a narrow interpretation of her contribution as a painter, an interpretation that has not yet been wholly rectified.” A similar stance was adopted by the organizers of Delaunay’s first U.S. museum retrospective, which opened at the Albright Knox Art Gallery (today the Buffalo AKG Art Museum) in February 1980—two months after Sonia’s death—and travelled to six other venues in North America, including the Grey Art Gallery in New York. Next to paintings and works on paper, the exhibition included book illustrations, clothing, tapestries, fabric panels, and ceramic, but the catalogue downplayed Delaunay’s commercial ventures. Critics reviewing the exhibition took sides on the issue. Hilton Kramer of The New York Times acknowledged being “quite unmoved by the ceramics, the tapestries and the other commercial stuff.” Rather, he concluded, “It is in the paintings and the small pictorial studies on paper that we feel the real energy and drive of this exhibition.” By contrast, John Russell, reviewing the show at its New York venue for the same newspaper, praised Delaunay’s activities as a fashion and decoration designer: “One of the casualties of World War II and its aftermath was the potential for good of Sonia Delaunay as an all purpose designer. . . . Somewhere in the carnival of color on view at the Grey Art Gallery, a great human opportunity

Isabelle Dervaux New York, December 2024

1 Arthur A. Cohen, ed., The New Art of Color: The Writings of Robert and Sonia Delaunay. Viking Press, New York, 1978, p. 219. 2 See Waleria Dorogova and Laura Microulis, “Introduction” in Sonia Delaunay: Living Art, exhibition catalogue, Bard Graduate Center, New York, p. 22. 3 Oral history interview with Edith Gregor Halpert, May 9, 1962, by Harlan Phillips, Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu/collections/interviews/ oral-history-interview-edith-gregor-halpert-13220 4 The other couples included Willem and Elaine de Kooning, Jackson Pollock and Lee Krasner, Hans Arp and Sophie Taeuber-Arp, Ben Nicholson and Barbara Hepsworth, and Max Ernst and Dorothea Tanning. 5 October 3, 1955, Rose Fried Gallery Records, Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu/collections/rose-fried-gallery-records-5539/series-2/box 2-folder-45 6 Letter from Rose Fried to Sonia Delaunay, 27 September 1956, Bibliothèque Kandinsky, Centre Georges Pompidou, DEL 121. 7 Letter from Rose Fried to Sonia Delaunay, 19 April 1956, Bibliothèque Kandinsky, DEL 121. 8 Letter from Sonia Delaunay to Rose Fried, 30 January 1958, Rose Fried Gallery Records, Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu /collections/ rose-fried-gallery-records-5539/series-2/box-2-folder-45 9 Arthur A. Cohen, Sonia Delaunay , New York, Harry N. Abrams, 1975, p. 82. 10 Hilton Kramer, “Sonia Delaunay—A Pioneer Modernist,” The New York Times , 17 February 1980, p. 33. 11 John Russell, “The Awesome Gifts of Sonia Delaunay,” The New York Times, 20 November 1980, p. C10.

Isabelle Dervaux is an art historian and curator. From 2005 to 2023 she was the Acquavella Curator and Department Head of Modern and Contemporary Drawings at the Morgan Library & Museum, New York. Previously she held curatorial positions at the National Gallery of Art, Washington DC, and the National Academy Museum, New York. She holds a Ph.D. in art history from the Institute of Fine Arts, New York University, and a Master’s degree from the University of Paris-Sorbonne. She has curated numerous exhibitions on twentieth-century European and American art, including Surrealism USA (2005); Roy Lichtenstein: The Black-and-White Drawings (2010); Dan Flavin: Drawing (2012); Subliming Vessel: The Drawings of Matthew Barney (2013); Dubuffet Drawings (2016); Georg Baselitz: Six Decades of Drawings (2022); Entrance to the Mind: Drawings by George Condo (2023) and Ferdinand Hodler: Drawings (2023). She has published extensively on modern and contemporary art, notably essays on Surrealism, Josef Albers, Arshile Gorky, Philip Guston, Helen Frankenthaler, Cy Twombly, and Tom Wesselmann.

Chronology

I am having a lot of success now, but America doesn't know it yet.

November 14, 1885: Sonia is born Sarah Stern to a Jewish family in Odessa, then part of the Russian Empire, now part of Ukraine. Robert Delaunay is born the same year in Paris.

1890s: The orphaned Sonia spends her childhood in St. Petersburg with her maternal uncle, Henri Terk, who adopts her, and gives her his last name.

— Letter from Sonia Delaunay to Rose Fried, 1958

1904: Sonia studies painting at the Karlsruhe Academy of Fine Arts.

1905: Upon arriving in Paris, Sonia takes classes at the Acad mie de la Palette, where her classmates include Am d e Ozenfant and Andr Dunoyer de Segonzac.

1909: She marries “for convenience” the collector, gallery owner, art critic, and homosexual Wilhelm Uhde.

1910: Through Uhde’s gallery, she meets the Comtesse de Rose and her son Robert Delaunay, prompting her divorce from Uhde and soon after her marriage to Robert. The artist couple move to 3, rue des Grands-Augustin, and become known for their Salons for the artistic and literary avant-garde. Robert would be best known for his contributions to abstraction and color theory in his depictions of the Eiffel Tower, and Sonia would become equally influential in blending the visual arts with textiles and fashion design.

1911: Their son Charles is born, for whom Sonia creates a an abstract patchwork blanket, now in the collection of the the Mus e National d’Art Moderne. The

1930–32: Exhibits with the Union des artistes modernes , then with Abstraction Création .

bold abstract pattern is considered the announcement of her future abstract aesthetic.

1913: Sonia befriends the poet Blaise Cendrars, and collaborates on a project illustrating his poem La Prose du Transsibérien et de la petite Jehanne de France, the first in a series of collaborations with him. She participates in the First German Autumn Salon in Berlin, at the Der Sturm gallery, and exhibits paintings as well as books and simultaneous objects. This new Cubism is renamed Orphism by poet and friend Guillaume Apollinaire and a movement is begun. 1914–18: Once France goes to war, the Delaunays travel to Spain, staying in the Iberian Peninsula for the duration. In Portugal, they become close to the local avant-garde, settling in the north of the country, marking a productive period.

1935: Sonia and Robert moves to 16, rue Saint-Simon in Paris.

1937: The Exposition Internationale des Arts et des Techniques dans la Vie Moderne is held at the Palais de l’Air and the Pavillon des Chemins de Fer, with several large frescoes by Robert and Sonia including Voyages lointains and Portugal for which she was awarded the gold medal. 1938: Sonia creates a series of monumental paintings for the 15th Salon des Tuileries , now held in the Mus e d’Art Moderne de la Ville de Paris.

1939: She organizes the first Réalités Nouvelles exhibition at the Galerie Charpentier.

1920: The Delaunays return to Paris and move to 19, boulevard Malesherbes.

1941: Robert Delaunay dies on October 25 in Montpellier, and Sonia joins the Taeuber-Arps in Grasse.

1923: . Sonia begins designing costumes for Tristan Tzara’s play, Le Cœur à gaz , presenting her textile creations publicly for the first time.

1946: The first major retrospective devoted to Robert Delaunay is held at the Galerie Louis Carr

1925: Takes part in the International Exhibition of Modern Decorative and Industrial Arts , presenting the Simultané boutique in collaboration with the couturier Jacques Heim on the Alexandre III bridge in Paris. 1926: Sonia designs the sets and costumes for Ren Le Somptier’s film Le P’tit Parigot . 1927: Sonia delivers a major lecture at the Sorbonne University: L’influence de la peinture sur les arts vestimentaires.

1947: Sonia takes part in the Tendance de l’art abstrait exhibition at Galerie Denise Ren with Jean Arp, Hans Hartung, František Kupka and Piet Mondrian. 1953–54: Andr Bloc and F lix del Marle found the Groupe Espace , whose members include Sonia Delaunay, Victor Vasarely and Fernand L ger. She creates several mosaics which are exhibited in Biot.

1969: Publication in collaboration with Jacques Damase of L’Alphabet and Robes-Poèmes . 1970: Georges Pompidou presents Richard Nixon with a painting by Sonia Delaunay during an official visit to the United States.

1955: Her first solo exhibition in New York is held at the Rose Fried Gallery.

1958: A retrospective is held at the Städtische Kunsthaus in Bielefeld which includes 260 works shown to the public, and that same year, she is made a Chevalier des Arts et des Lettres.

1959: Robert and Sonia Delaunay exhibition is held at the Mus e de Lyon.

1973: Sonia is awarded the Grand Prix des Arts de la Ville de Paris.

1960: Sonia’s design for Simultané playing cards, published by Bielefelder Spielkarten Fabrik GmbH for the Deutsche Spielkartenmuseum is an immediate success. 1962: Galerie Denise Ren shows 43 gouaches by Sonia and publishes an album of 6 stencils illustrating poems by Rimbaud, Mallarm , Cendrars, Tzara... ( Poésie de mots, poésie de couleurs ). 1963-1964: Sonia and her son Charles donate 114 works by Robert and herself to the French State, to be housed in the Mus e National d’Art Moderne, Paris.

1975: Sonia is named an Officer of the L gion d’Honneur and creates a poster for UNESCO for International Women’s Year.

1978: Publication of her autobiography Nous irons jusqu’au soleil in collaboration with Jacques Damase.

1979: Sonia Delaunay dies on December 5, aged 94.

1964: An exhibition of the Delaunay donation is held at the Mus e du Louvre.

1966: Her collaboration with poet publisher Jacques Damase results in the publication of Rythmes-couleurs. Damase extoled the magical power of art, which Sonia believed sprung from the internal rhythms expressed by contrasting colors.

1967: A major Sonia Delaunay retrospective is held at the Mus e National d’Art Moderne.

Sonia Delaunay in 1925 © Pracusa20240531

WORKS

1. Study for Zenith (Zénith, étude) 1913–14, Paris

Colored pencils on paper 7¾ x 10 in. (19.8 x 25.4 cm) Annotated, monogrammed, dated and signed lower right

exhibitions: Bielefeld, Kunsthalle. Sonia Delaunays Welt der Kunst . November 30, 2008–February 22, 2009. Excat, p. 59 (illustrated). Paris, Mus e d’Art moderne de la Ville de Paris. Sonia Delaunay: Les couleurs de l’abstraction . October 17, 2014–February 22, 2015. London, Tate Modern. Sonia Delaunay . April 15, 2014–August 9, 2015. Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 89 (illustrated). Certificate of authenticity (no. SD 04 140 a 483) established by Jean Louis Delaunay and Richard Riss on May 9, 2023. Archive Number: F. 483.

2. Disc, Portugal (Disque, Portugal) 1915, Portugal Glue-based paint on paper 7 x 8⅜ in. (18 x 21.5 cm) Annotated, monogrammed and dated lower right

provenance: Private collection.

exhibitions: Nancy, Mus e des Beaux-Arts. Sonia Delaunay: Robert Delaunay . June 29-September 11, 1972. Basel, Kunstmesse. 1979. Tokyo, The National Museum of Modern Art. Sonia et Robert Delaunay . October 9–December 23, 1979. Excat, no. 70 (illustrated). Buffalo, NY, Albright-Knox Art Gallery. Sonia Delaunay: A Retrospective . February 2, 1980–March 16, 1980; Pittsburgh, Carnegie Institute, April 11-June 1, 1980; Houston, The Museum of Fine Arts, June 27–August 31, 1980; Atlanta, The High Museum of Art, September 7–October 26, 1980; New York University, The Grey Art Gallery and Study Center, November 15-December 27, 1980; Chicago, The Art Institute, January 31–March 8, 1981; Montr al, Mus e d’Art Contemporain, April 1–May 17, 1981. Excat, p. 148 (illustrated). Paris, Mus e d’Art moderne de la Ville de Paris. Robert et Sonia Delaunay : le centenaire . May 14– September 8, 1985. Excat p. 204 (illustrated). Bern, Kunstmuseum. Sonia & Robert Delaunay . November 15, 1991–September 2, 1992. Excat, p. 102 (illustrated). Madrid, Museo Thyssen-Bornemisza. Robert y Sonia Delaunay, 1905 – 1941 . October 8, 2002–January 12, 2003. Excat, p. 123. Bielefeld, Kunsthalle Bielefeld. Sonia Delaunay’s Welt der Kunst . November 30, 2008-February 22, 2009. Excat, p. 68 (illustrated). Hamburg, Museum of Hamburg. May 20–August 16, 2009. Paris, Mus e d’Art Moderne de la Ville de Paris. Sonia Delaunay. Les couleurs de l’abstraction . London, Tate Modern. Sonia Delaunay . 2014–2015. Excat, p. 108 (illustrated). Madrid, Museo Thyssen-Bornemisza. Sonia Delaunay, Art Design Fashion . 2017. Excat, p. 80, no. 24 (illustrated). Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3-November 15, 2024. Excat, p. 59 (illustrated).

Certificate of authenticity (no. SD 06 142 a 155) established by Jean-Louis Delaunay and Richard Riss on June 5, 2023.

3. Design for the cover of the exhibition catalogue Nya Konstgalleriet, Stockholm (Projet de couverture pour le catalogue de l’exposition à la Nya Konstgalleriet de Stockholm)

1916, Portugal Wax on paper 13¼ x 8¾ in. (33.8 x 22.5 cm) Numbered, monogrammed and dated lower right

provenance: Galerie Le Minotaure, Paris.

exhibitions: Madrid, Museo Thyssen-Bornemisza. Sonia Delaunay, Art Design Fashion . July 4– October 15, 2017. Excat, no. 27, p. 83. New York, Bard Graduate Center. Sonia Delaunay: Living Art. February 23–July 7, 2024. Excat, no. 7, p. 522 (illustrated). Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 62 (illustrated). literature: Editions Le Minotaure #7 . Can’t take my eyes off of you . October 2014. p. 4(illustrated). Copy of the certificate of authenticity (no. SD 06 169 a 374) signed by Jean Louis Delaunay and Richard Riss on October 2, 2007.

4. Design for the cover of the exhibition catalogue Nya Konstgalleriet, Stockholm (Projet de couverture pour le catalogue de l’exposition à la Nya Konstgalleriet de Stockholm) 1916, Portugal Wax on paper 12⅞ x 8⅝ in. (32.8 x 22 cm) Signed and monogrammed lower left, numbered lover right and reverse, annotations on reverse exhibitions: New York, Bard Graduate Center. Sonia Delaunay: Living Art. February 23–July 7, 2024. Excat, no. 6, fig. C5, p. 32 (illustrated). Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 63 (illustrated).

Certificate of authenticity (no. SD 06 168 386 a) established Richard Riss on November 22, 2021.

verso

5. Design for cover Album no. 1 (Projet de couverture pour Album no. 1) 1916, Portugal Wax on paper 9 x 8¼ in. (23 x 21 cm) Signed and dated lower right, numbered lower left

provenance: Collection Galeria São Mamede, Lisbon; Collection Carla Melissa Gabardi, Paris.

exhibitions: Lisbon, Calouste Gulbenkian Foundation. Sonia e Robert Delaunay em Portugal e os seus amigos Eduardo Vianna, Amado de Souza Cardoso, José Pacheco, Almada Negreiros . April–May 1972. Excat, no. 49 (illustrated). Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 90 (illustrated). Certificate of authenticity SD 07 178 1222 established by Jean Louis Delaunay and by Richard Riss on May 14, 2023. Archive Number: F. 1222 a.

6. Design for the cover of la revue d’art allemande Der Ararat (Projet de couverture pour la revue d’art allemande Der Ararat) 1917, Paris Watercolor on paper 11⅛ x 8⅜ in. (28.5 x 21.5 cm) Signed lower right, numbered on reverse provenance: Jacques Damase Collection, Paris. Certificate of authenticity (no. SD 30 5107) established by Jean-Louis Delaunay and Richard Riss on December 2, 2024.

7. Market at Minho (Marché au Minho) 1917, Portugal Watercolor on paper 14⅛ x 10 in. (36 x 25.5 cm) Signed and dated lower right

provenance: Marguerite Arp Hagenbach, Basel (gift to her sister); Private collection, Switzerland; Galerie Kornfeld, Bern, 2008, lot 25; Private collection, Germany.

exhibitions: Bahnhof Rolandseck, Arp Museum Bahnhof Rolandseck, Stiftung Hans Arp und Sophie Taeuber-Arp e.V. Hans Arp zum 100. Geburtstag . ein Lese- und Bilderbuch, May 25–August 20,1986; Kunsthaus Zürich, July 5–September 7, 1986; Galerie K. Walter Buchebner Gesellschaft, Stadt Kindberg, Octoverb 24–November 22, 1986. Excat (illustrated). Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 60 (illustrated). Certificate of authenticity (No. SD 30 Minho 1917) established by Jean Louis Delaunay and Richard Riss on June 26, 2024.

8. Costume Study (Costume simultané) 1917, Portugal Wax and colored pencils on paper 15⅞ x 10 in. (40.5 x 25.5 cm) Signed and annotated lower right

provenance: Galleria Martano, Turin; Private collection, Turin.

exhibitions: Turin, Galleria Martano. Sonia Delaunay. Martano Due documenti n° 27 . November 1970. Excat, no. 3. Turin, Galleria d’arte moderna La mela verde. Sonia Delaunay. May 15–June 4, 1974. Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 68 (illustrated). Certificate of authenticity (No. SD 07 205 a 450) established by Jean Louis Delaunay and by Richard Riss on June 28, 2024.

9. Dress Design (Projet de robe) 1923, Paris Ink and colored pencils on paper 10⅝ x 8¼ in. (27 x 21 cm) Signed and dated lower left, numbered lower right

exhibitions: Barbara Mathes Gallery, New York.

Bielefeld, Kunsthalle Bielefeld. Sonia Delaunay’s Welt der Kunst . November 30, 2008–February 22, 2009. Excat, p. 128 (illustrated). Krefeld, Museum Haus Lange, Kunstmuseen Krefeld. Maison Sonia. Sonia Delaunay and the Atelier Simultané. October 23, 2022– February 26, 2023. New York, Bard Graduate Center. Sonia Delaunay: Living Art. February 23–July 7, 2024. Excat, no. 87. Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 71 (illustrated). Certificate of authenticity (no. SD 09 335 1524) established by Jean Louis Delaunay and Richard Riss on June 9, 2021. Archive number: F. 1524.

10. Dress Design (Projet de robe) 1925, Paris

Colored pencil on paper 10½ x 8 in. ( 26.8 x 20.5 cm) Dated lower left, signed lower center, numbered lower right

provenance: Robert Altmann, Viroflay; Gallery 1900–2000, Paris; Private collection, Paris.

exhibitions: Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 66 (illustrated). Certificate of authenticity (SD 30 1340) established by Jean-Louis Delaunay and Richard Riss on June 28, 2024. Archive Number: F. 1340.

11. Fabric Design (Projet de tissu) 1927 Gouache, pencil and black ink on wove paper 10⅝ x 8¼ in. (27 x 21 cm) Signed and numbered lower right

provenance: Jacques Damase Collection, Paris. Label on back: Sonia Delaunay N° 191 / Cr e le 6.XI - 1927. / F.5167 / 27 x 21 Certificate of authenticity (no. SD 30 5167) established by Jean-Louis Delaunay and Richard Riss on December 2, 2024.

12. Composition—Tapestry Design (Composition—Projet de tapisserie) 1940–42 Watercolor on paper 20 x 13¾ in. (50.9 x 35 cm) Signed lower right, annotated lower left, numbered upper right

provenance: Private collection, Italy.

exhibitions: Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 96 (illustrated). Certificate of authenticity (no. SD 30 1943 66A) established by Jean Louis Delaunay and Richard Riss on June 1, 2009.

13. Rhythm in Color (Rythme coloré) 1948, Paris Gouache on paper 9⅛ x 7½ in. (23.2 x 19.3 cm) Signed, numbered and dated lower right

provenance: Private collection, Belgium.

exhibitions: Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 77 (illustrated). Certificate of authenticity (SD 30 233) established by Jean-Louis Delaunay and Richard Riss on June 28, 2024.

14. Fabric Design (Projet de tapis) c. 1952

Gouache on wove paper 9¾ x 9¾ in. (25 x 25 cm) Signed and annotated lower right provenance: Jacques Damase Collection, Paris.

exhibition: Zurich, Museum Bellerive. Sonia Delaunay, Art Déco. August 1981. Certificate of authenticity (no. SD 30 54 162) established by Jean-Louis Delaunay and Richard Riss on December 2, 2024.

15. King of Spades—Project for a Card Game (Row de pique—Projet pour jeu de cartes) 1959, Paris Gouache on paper 9 x 7 in. (23 x 18 cm) Signed and annotated lower right

provenance: Jacques Damase Collection, Paris.

exhibitions: Paris, Mus e d’Art moderne de la Ville de Paris. Robert et Sonia Delaunay : le centenaire . May 14 May–September 8, 1985. Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 93 (illustrated). Certificate of authenticity (SD Roi de pique) established by Jean Louis Delaunay and Richard Riss on June 28, 2024.

16. Design for cover of the book “Robes Poems” by Jaques Damase (Projet de couverture pour le livre de Jaques Damase, “Robes Poèmes,” imprimeurs Jacomet et Hofer) 1969, Paris Gouache on paper 12⅛ x 8¾ in. (31 x 21.5 cm) Numbered on reverse Verso: Second Design for Cover

provenance: Jacques Damase Collection, Paris.

exhibition: Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 100–101 (illustrated). Certificate of authenticity (SD Robes Poèmes 1969) established by Jean-Louis Delaunay and Richard Riss on June 28, 2024.

verso

17. Rhythm in Color (Rythme couleur) 1970, Paris Gouache, ink and pencil on paper 11¼ x 9 in. (28.8 x 23 cm) Dated lower right provenance: Jacques Damase Collection, Paris.

exhibition: Paris, Galerie Zlotowski. Sonia Delaunay, la Simultan e. October 3– November 15, 2024. Excat, p. 79 (illustrated). Certificate of authenticity (no. SD 30 22 08 1970) by Jean-Louis Delaunay and Richard Riss on November 8, 2022.

18. Rhythm in Color (Rythme couleur) 1970, Paris Gouache, ink and pencil on paper 11¼ x 9 in. (28.8 x 23 cm) Dated lower right provenance: Jacques Damase Collection, Paris.

exhibitions Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 79 (illustrated). Certificate of authenticity (no. SD 30 22 08 1970) by Jean-Louis Delaunay and Richard Riss on November 8, 2022.

19. Rhythm in Color (Rythme couleur) 1970, Paris Gouache and pencil on paper 11¼ x 9 in. (28.6 x 22.8 cm) provenance: Jacques Damase Collection, Paris.

exhibition: Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 76 (illustrated). Certificate of authenticity (no. SD carnet blanc 09) by Jean-Louis Delaunay and Richard Riss on August 16, 2019. This work comes from the “carnet blanc” of 38 gouaches, watercolors and drawings that Sonia Delaunay gave to Jacques Damase.

20. Rhythm in Color (Rythme couleur) 1971, Paris Gouache and pencil on paper 9¾ x 8⅝ in. (25 x 22 cm) Signed and dated lower right provenance: Jacques Damase Collection, Paris; Private collection, Europe.

exhibitions: London, Bastian Gallery. Sonia Delaunay: Rhythm and Colour . May 18–June 27, 2021. London, Frestonian Gallery. Form/Symbol . March 16–April 23, 2022. Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 80 (illustrated). Certificate of authenticity (no. SD carnet blanc 020) signed by Jean Louis Delaunay and Richard Riss on August 27, 2019. This work comes from the “carnet blanc” of 38 gouaches, watercolors and drawings that Sonia Delaunay gave to Jacques Damase.

21. Rhythm in Color (Rythme couleur) 1972, Paris Gouache on paper 17⅞ x 9⅝ in. (45.5 x 24.5 cm)

provenance: Jacques Damase Collection, Paris.

exhibition: Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 81 (illustrated). Certificate of authenticity (no. SD 30 I.R.2. 72) established by Jean Louis Delaunay and Richard Riss on June 28, 2024. Draft for Arthur Rimbaud’s Illuminations , to be completed in December 1973. Sketch of the artist’s self-portrait on the back.

verso

22. Rhythm in Color (Rythme couleur) 1972, Paris Gouache and pencil on paper 11¾ x 9 in. (29 x 23 cm ) Monogrammed lower right, numbered on reverse

provenance: Jacques Damase Collection, Paris.

exhibitions Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 85 (illustrated). Certificate of authenticity (SD 30 R.C.) established by Jean Louis Delaunay and Richard Riss on June 28, 2024.

23. Rhythm in Color (Rythme couleur) 1975, Paris Gouache and charcoal on paper 20¼ x 15½ in. (51.5 x 39.5 cm) Signed, dated, and dedicated lower right, annotated lower left

provenance: Given by the artist to Jean Sainsaulieu.

exhibitions Paris, Galerie Zlotowski. Sonia Delaunay, la Simultanée . October 3– November 15, 2024. Excat, p. 83 (illustrated). Certificate of authenticity (SD 30 1984) signed by Jean-Louis Delaunay and Richard Riss on April 5, 2021.

24. Rhythm in Color (Rythme couleur) c. 1970s

Gouache and pencil on paper 10⅝ x 11¾ in. (27 x 29.2 cm) Annotated on reverse

provenance: Jacques Damase Collection, Paris. Certificate of authenticity (no. SD 30 JD 138) established by Jean-Louis Delaunay and Richard Riss on December 2, 2024.

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