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Henri Matisse’s Jazz, much like the musical genre it references, revolutionized the illustrated book format through its interplay of rhythm and improvisation. Conceived in 1943 in collaboration with the celebrated Greco-Parisian publisher Tériade, the portfolio comprises 20 vividly colored pochoirs paired with text pages of Matisse’s distinctive looping handwriting. Created during a period of intense focus, these works were crafted using his innovative papiers découpés (cut paper) technique. This method, developed out of necessity after intestinal surgery left him with limited mobility, led to the creation of some of Matisse’s most iconic artworks.
Originally titled Le Cirque, the portfolio features vibrant depictions of circus scenes rendered in bold, saturated hues. Beneath the exuberant surface, however, lies a tragic undercurrent of Matisse’s personal struggles: his illness, separation from his family, and the broader anxieties of life in Nazi-occupied France. Despite this darkness, themes of resilience and hope emerge.
An early precursor to Matisse’s decoupage technique can be seen in the 1939 wartime cover of Tériade’s art magazine, Verve. The double-page composition, titled Symphonie Chromatique, features a spectrum of brightly colored fleur-de-lis, symbolizing French culture and national identity at a time when Nazi Germany’s influence loomed large over Europe. Published in early 1940—just two weeks before the Nazis marched into Paris—the work stands as a subtle yet poignant expression of resistance.
Tériade was among the first to recognize the potential of Matisse’s cut-out style, urging the artist to explore it further. However, it was not until Matisse’s life-saving surgery in 1941 that he fully embraced the medium. Over the subsequent years, he refined his découpage practice with the help of assistants, who painted large sheets of paper with vivid gouache. Matisse then cut these sheets into shapes and pinned them to the walls of his bedroom, allowing him to experiment with and adjust compositions over time. This deliberate and contemplative process resulted in an innovative fusion of painting, drawing, and sculpture—a method Matisse described as “drawing with scissors.”
During the four-year Nazi occupation of France, Matisse endured not only physical illness but also the emotional toll of separation from his family. Considered a “degenerate artist” under Hitler’s regime, Matisse remained isolated in the South of France. His son, Pierre, fled to New York, while his beloved daughter, Marguerite, joined the French Resistance. Tragically, Marguerite was captured, tortured by the Gestapo, and sentenced to a German concentration camp, though she managed to escape near the war’s end.
Amid this period of turmoil and with Tériade’s encouragement, the Jazz portfolio was born. During a studio visit in the summer of 1943, Tériade and his assistant, Angela Lamotte, recalled seeing the first two completed compositions: The Clown and The Toboggan, which would eventually bookend the portfolio as its opening and closing plates. Over the next two years, Matisse created the remaining 18 maquettes in a burst of creative energy.
The subject matter of Jazz is diverse yet thematically interconnected. Broadly, the works can be grouped into six categories, beginning with depictions of the human form. Plates such as Forms, The Cowboy, The Knife Thrower, and The Codomas feature rhythmic, balanced compositions saturated with undertones of violence. For instance, Forms—originally titled La Fatalité—appears abstract but in actuality depicts two headless and limbless bodies. In The Cowboy and The Knife Thrower, Matisse juxtaposes predator and prey, with the woman victim occupying the right side of both compositions. The Codomas, one of the most intricate pieces in the series, utilizes 91 individual pieces of cut paper to reference the Flying Codonas, a famed family of French acrobats whose career ended tragically with a publicized fall. These works conceal danger beneath their vibrant, dynamic surfaces.
Two single-page compositions, Monsieur Loyal and The Sword Swallower, focus on the human face. Monsieur Loyal ostensibly references Georges Loyal, a well-known Parisian circus ringmaster. However, many critics interpret the plate as a portrait of Charles de Gaulle, the leader of Free France. In contrast, The Sword Swallower depicts a grotesque figure with a small head and a bulging neck stuffed with three swords. Widely believed to symbolize the Gestapo’s cruelty and appetite for violence, the image presents a dark counterpoint to Monsieur Loyal.
Another grouping in Jazz consists of animal-themed works, including The Wolf, The Nightmare of the White Elephant, The Horse, the Rider, and the Clown, and Pierrot’s Funeral. The Wolf, with its jagged mouth and red eyes, symbolizes the predatory nature of the Nazi secret police. The Nightmare of the White Elephant depicts an elephant precariously balanced on a circus ball, encircled by black shapes and pierced by red flames—a reflection of Matisse’s confinement and his longing for freedom. As Matisse himself said, “The white elephant—it is me.” The Horse, the Rider, and the Clown continues the theme of oppression, with a submissive horse bowing under a vivid yellow whip. In Pierrot’s Funeral, Matisse renders the melancholic clown’s death as final and somber—a departure from the traditional French circus trope of Pierrot’s resurrection. The image carries echoes of Matisse’s own confrontation with mortality.
Two of the most conceptual images of the series, The Heart and Destiny, explore the motif of duality. The Heart contrasts a small red heart with a menacing black void, while Destiny juxtaposes the vastness of negative space with a human couple kneeling together. Critics have identified Destiny as the darkest image in the series, born of Matisse’s despair during the occupation.
The iconic “falling figure” compositions, including Icarus, The Clown, Circus, The Swimmer in the Aquarium, and The Toboggan, echo themes of confinement and mortality. Each conveys tension, with figures seemingly suspended in limbo. Notably, Icarus captures the timeless myth of human ambition and failure, transformed into a modern commentary on war and despair. In contrast, the final grouping—the Lagoons—brings a sense of tranquility. Created during the Allied landings in Normandy, these serene images evoke memories of Matisse’s time in Tahiti and symbolize liberation and peace.
By 1946, Tériade convinced Matisse to pen his own poetic text for the portfolio, softening its darker themes. These writings add a reflective, philosophical layer, inviting viewers to find new interpretations in Jazz’s abstraction and rhythm. In the end, Jazz is more than an illustrated book— it is a profound meditation on survival, creativity, and the human spirit. Emerging from one of history’s darkest chapters, Matisse’s portfolio embodies resilience and hope. Its bold colors and improvisational forms endure as a testament to art’s power to transform pain into beauty and chaos into harmony, offering timeless inspiration to all who encounter it.
Matisse in his studio with his beloved schnauzer, Raoudi, and his Monstera plant.
Jazz, 1947
Pochoirs
Sheet size: 16 1/2 x 25 5/8 inches each
Printer: Edmond Vairel and Draeger Frères, Paris
Publisher: Tériade, Paris
Edition size: 250, plus proofs
Catalogue raisonné: Duthuit 22
Signed in pencil on the colophon page
The complete set of 20 pochoirs in colors, each the full sheet, loose and with central vertical fold (as issued), with title, text, table of contents and justification pages, the original gray paper boards and slipcase with title label on spine.
This set is notable for its exceptional condition, color and completeness.
There was also a flat portfolio edition of 100 sets without the vertical fold and without the text on some pages, issued in a paper covered portfolio.
Illustrated: The Clown
Illustrated: The Wolf, Icarus, The Heart, Forms
Roy Lichtenstien
Nude with Blue Hair, 1994
Relief print
Sheet size: 57 7/8 x 37 5/8 inches
Printer and Publisher: Tyler Graphics Ltd., Mount Kisco, New York
Catalogue Raisonné: Corlett 286
Signed, numbered and dated in pencil
Andy Warhol, born in Pittsburgh in 1928, moved to New York City in 1949, where he began a successful career as a commercial artist. Throughout the 1950s, Warhol collaborated with designer Israel Miller of the Manhattan shoe store I. Miller to produce full-page advertisements for The New York Times. These illustrations, celebrated for their sophistication and accuracy, were created using Warhol’s innovative “blotted-line” technique. This streamlined medium integrated printmaking and drawing, allowing Warhol to replicate stylistic variations with ease. These early works mark the start of Warhol’s lifelong fascination with repetition and seriality—qualities that would define his nearly 40-year career.
Beyond his illustration work, Warhol gained recognition as a sought-after window dresser for Manhattan’s luxury department stores. One of his most celebrated displays, created for Bonwit Teller, featured enlarged reproductions of cartoons, advertisements, and newspaper headlines. Pleased with the results, Warhol repurposed these canvas backdrops as standalone works of fine art, later featured in a 1962 issue of Art in America. This marked a turning point in Warhol’s career, as his appropriated imagery began to receive critical and public recognition.
Art dealer Muriel Latow was among the first to recognize the potential of Warhol’s use of commercial imagery. However, she noted that his early works bore a strong resemblance to the Ben-Day dot compositions of Roy Lichtenstein, a contemporary who had already achieved significant acclaim. Determined to set his work apart, Warhol sought inspiration in everyday objects that resonated universally with audiences. At a dinner party in 1961, he famously paid Latow $50 for a suggestion that would define his career: “You’ve got to find something that’s recognizable to almost everybody,” she advised. “Something you see every day that everybody would recognize. Something like a can of Campbell’s Soup.”
The next morning, Warhol purchased every available variety of Campbell’s soup at a local grocery store, later cross-referencing his collection with the manufacturer’s catalog to ensure accuracy. He began hand-painting each can, meticulously stenciling details and using a light projector to trace their forms. The resulting works, with their subtle variations on nearly identical images, challenged traditional notions of originality and authorship. By transforming an ordinary object into high art, Warhol broke from the heroic, expressive gestures of Abstract Expressionism, redefining the role of the artist and ushering in the Pop Art movement.
By the late 1960s, Warhol had become both a star in the art world and a household name in popular culture. As his career progressed, he embraced the commercial and economic aspects of art-making, culminating in the establishment of his printmaking enterprise, Factory Additions, in 1967. Through this venture, Warhol transitioned to mechanical silkscreen processes that eliminated any trace of the artist’s hand. As Warhol himself stated, he aspired “to be a machine.”
One of the defining projects from Factory Additions was the Campbell’s Soup Cans I portfolio (1968), consisting of ten nearly identical large-scale prints of soup cans in various flavors. Rendered in bold crimson hues, crisp outlines, and metallic inks, these screenprints epitomized Warhol’s fascination with the aesthetics of consumer culture, while erasing any sense of the artist’s personal touch. Similarly, Warhol’s Flowers portfolio (1970) brought vibrant, abstracted florals to life, demonstrating his mastery of color and misregistration techniques to create compositional variety from a single photographic source.
The Flowers motif first appeared in a sell-out 1964 exhibition at Leo Castelli Gallery in New York, before expanding into a more extensive body of work for Galerie Ileana Sonnabend in Paris the following year. Sonnabend, a pivotal figure in Warhol’s career, introduced his brand of Pop Art to European audiences, helping overcome initial skepticism toward his ready-mades and serial imagery. The Flowers print edition, consisting of ten screenprints in vibrant pigments, showcased Warhol’s ability to transform a single photograph into endlessly varied compositions.
The Campbell’s Soup Cans I and Flowers portfolios are now considered monumental achievements in 20th-century art. Both are rare, full sets with matching edition numbers in excellent condition. Their provenance, directly from the collection of the illustrious transatlantic dealer Ileana Sonnabend, underscores their historical significance. These works elevated printmaking to new heights in the postwar art world, serving as enduring testaments to Warhol’s groundbreaking legacy and Sonnabend’s critical role in shaping the trajectory of contemporary art.
Campbell’s Soup I, 1968
Screenprints
Sheet size: 35 x 23 inches, each
Printer: Salvatore Silkscreen Co., Inc., New York
Publisher: Factory Additions, New York
Edition size: 250, plus proofs
Catalogue Raisonné: Feldman and Schellmann II.44-53
Each sheet is signed and stamp numbered, verso
The complete portfolio of ten screenprints that retains its original cardboard portfolio box. This set is in remarkable original condition, the colors exceptionally bright and fresh.
Provenance:
The Artist
Galerie Ileana Sonnabend, Paris By descent to
Andy Warhol
Flowers, 1970
Screenprints
Sheet size: 36 x 36 inches, each
Printer: Aetna Slikscreen Products, Inc., New York
Publisher: Factory Additions, New York
Edition size: 250, plus proofs
Catalogue Raisonné: Feldman and Schellmann II.64-73
Each sheet is signed and stamp numbered, verso
This set is in remarkable original condition, the colors unfaded, bright and fresh.
Provenance:
The Artist
Galerie Ileana Sonnabend, Paris
By descent to the previous owner
Flowers, 1965
Silkscreen on linen canvas
8 x 8 inches
Catalogue Raisonné: Frei and Printz, Vol. 02B/Painting and Sculpture 1964-69, catalogue number 1635
Stamped on verso by the Andy Warhol Art Authentication Board, numbered A131.984.
Initialed and dated “A. W 64” in felt-tip pen on overlap.
Provenance:
Ileana Sonnabend, Paris
Frederick W. Hughes, New York
Heiner and Aeneas Bastian, Berlin
Susan Sheehan Gallery, New York
American Private Collection
Flowers, 1965
Silkscreen on linen canvas
8 x 8 inches
Catalogue Raisonné: Frei and Printz, Vol. 02B/Painting and Sculpture 1964-69, catalogue number 1697
Stamped on verso by the Andy Warhol Art Authentication Board, numbered A137.984.
Signed and dated “Andy Warhol 64” in ball-point pen on overlap.
Provenance:
Todd Brassner, New York
Heiner Bastian, Berlin
Susan Sheehan Gallery, New York
American Private Collection
Flowers, 1964
Silkscreen on linen canvas
8 x 8 inches
Catalogue Raisonné: Frei and Printz, Vol. 02B/Painting and Sculpture 1964-69, catalogue number 1667
Stamped on verso by the Andy Warhol Art Authentication Board, numbered A123.984.
Signed and dated “Andy Warhol 64” in ball-point pen on overlap.
Provenance:
Leo Castelli Gallery, New York (LC 668)
Charles Denby
Frederick W. Hughes, New York
Heiner Bastian, Berlin
Susan Sheehan Gallery, New York
American Private Collection
Flowers, 1965
Silkscreen on linen canvas
8 x 8 inches
Catalogue Raisonné: Frei and Printz, Vol. 02B/Painting and Sculpture 1964-69, catalogue number 1637
Stamped on verso by the Andy Warhol Art Authentication Board, numbered A133.984.
Initialed and dated “AW 64” in felt-tip pen on overlap.
Provenance:
Ileana Sonnabend, Paris
Frederick W. Hughes, New York
Thomas Ammann Fine Art, Zurich
Heiner Bastian, Berlin
Susan Sheehan Gallery, New York
American Private Collection
Richard Diebenkorn is widely regarded as one of the most influential figures in post-war American art. His career, defined by its refusal to adhere to rigid classification, spanned a range of styles and movements. Diebenkorn first gained recognition in the 1940s for his abstract expressionist paintings, aligning himself with the New York School. Yet, by the 1950s, he turned to figuration, becoming a central figure in the Bay Area Figurative movement. In the 1960s, he returned to abstraction, now imbued with a deeply personal approach. This period of intense creativity gave rise to his celebrated Ocean Park series—monumental, abstract compositions inspired by the aerial landscapes of Southern California.
Printmaking became an integral part of Diebenkorn’s practice in the early 1960s when he began working with Kathan Brown at Crown Point Press in San Francisco. At first, he gravitated toward drypoint, a process that involves drawing directly onto a zinc plate with a burin. He approached it as an extension of drawing, appreciating its immediacy and the sense of discovery it offered, as the final image only emerged during the printing process. Early on, Diebenkorn was reluctant to explore more technically demanding methods, but Brown encouraged him to experiment with aquatint to achieve richer, more consistent fields of color. When he returned to Crown Point in the 1970s, Diebenkorn combined drypoint and aquatint, translating the vast tonal and color fields of his Ocean Park paintings into print.
Throughout his career, Diebenkorn’s work was profoundly influenced by European modernism, particularly Henri Matisse. In his later collaborations with Crown Point, Diebenkorn often drafted proofs using collage, enabling him to experiment and rework his compositions—a process reminiscent of Matisse’s découpage. The relationship between the two artists was explored in SFMOMA’s 2017 exhibition Matisse/Diebenkorn, which traced the resonance of Matisse’s influence across Diebenkorn’s painting and printmaking.
One of Diebenkorn’s most celebrated prints, Green (1986), exemplifies his mastery of the medium. Created through a combination of drypoint and aquatint, it invites the viewer into a luminous, layered world where linear elements frame vast, atmospheric fields of color. Working proofs of Green, exhibited at Crown Point Press in 2017, revealed Diebenkorn’s painstaking process and his unrelenting exploration of balance, tone, and structure. In Green and beyond, Diebenkorn brought the same meditative precision to his prints as he did to his paintings, making the two mediums inseparable in understanding his artistic vision.
Green, 1986
Aquatint and drypoint
Sheet size: 53 1/2 x 40 5/8 inches
Printer and Publisher: Crown Point Press, San Francisco, CA
Edition: 60, plus proofs
Initialed, dated, and numbered in pencil
Blue Surround, 1982
Aquatint with etching and drypoint
Sheet size: 35 x 26 1/2 inches
Printer and Publisher: Crown Point Press, San Francisco, CA
Edition: 35, plus proofs
Initialed, dated, and numbered in pencil
Richard Diebenkorn
Ochre, 1983
Woodcut
Sheet size: 27 1/4 x 38 1/8 inches
Printer: Tadashi Toda at Shi-un-do Print Shop, Kyoto, Japan
Publisher: Crown Point Press, San Francisco, CA
Edition: 200, plus proofs
Initialed, dated, and numbered in pencil
Richard Diebenkorn
Untitled, 1970
Lithograph
Sheet size: 30 1/8 x 22 inches
Printer and publisher: Tamarind Lithography Workshop, Los Angeles
Edition: 20, plus proofs
Catalogue Raisonné: Liguori 163
Initialed, dated, and numbered in pencil
Provenance: Richard Diebenkorn Foundation, San Fransisco, CA
Richard Diebenkorn
Folsom Street Variation III (Primaries), 1986
Color aquatint and drypoint
Sheet size: 26 1/2 x 40 inches
Printer and Publisher: Crown Point Press, San Francisco
Edition: 60, plus proofs
Catalogue Raisonné: Liguori 297
Signed, dated, and numbered in pencil
Provenance: Richard Diebenkorn Foundation, San Fransisco, CA
High Green Version I, 1992
Color aquatint
Sheet size: 52 3/4 x 33 3/4 inches
Printer and Publisher: Crown Point Press, San Francisco, CA
Edition: 65, plus proofs
Catalogue Raisonné: Liguori 345
Initialed, dated, and numbered in pencil
Provenance: Richard Diebenkorn Foundation, San Fransisco, CA
Richard Diebenkorn
Reclining Figure II, 1962
Lithograph
Sheet size: 26 x 19 1/2 inches
Printer and Publisher: Tamarind Lithography Workshop, Los Angeles
Edition: 20, plus proofs
Catalogue Raisonné: Liguori 153
Signed, dated, and numbered in pencil
Provenance: Richard Diebenkorn Foundation, San Fransisco, CA
Ellsworth Kelly
Red Curve (Radius of 8’), 1973-75
Lithograph
Sheet size: 35 1/4 x 36 1/8 inches
Printer and Publisher: Gemini G.E.L., Los Angeles.
Edition: 50, plus proofs
Catalogue Raisonné: Axsom 106
Signed and numbered in pencil
Ellsworth Kelly
Calla Lily II, 1983-85
Lithograph
Sheet size: 35 7/8 x 24 7/8 inches
Printer and Publisher: Gemini G.E.L., Los Angeles.
Edition: 30, plus proofs
Catalogue Raisonné: Axsom 210
Signed and numbered in pencil
Albers
Homage to the Square: Edition Keller Ia-Ik, 1970
Screenprints
Sheet size: 21 5/8 x 21 5/8 inches, each
Printer: Herbert Geier, Ingolstadt, Germany
Publisher: Josef Keller Verlag, Starnberg, Germany
Edition size: 125, plus proofs
Catalogue Raisonné: Danilowitz 203.1-203.10
Each sheet is signed, dated, numbered, and titled sequentially ‘EK Ia’ through ‘EK Ik’ in pencil. Numbered in pencil on colophon.
The complete portfolio of ten screenprints that retains its original black linen-covered portfolio box, colophon, and interleaving sheets.
John Baldessari
I Will Not Make Any More Boring Art, 1971
Lithograph
Sheet size: 22 1/2 x 30 inches
Printer and Publisher: Nova Scotia College of Art and Design Lithography Workshop, Halifax
Edition: 50, plus proofs
Catalogue Raisonné: Coplan Hurowitz 1
Signed, dated, and numbered in pencil and annotated “right to print”
David Hockney
Weather Series-Rain, 1973
Lithograph with screenprint
Sheet size: 39 x 31 5/8 inches
Printer and Publisher: Gemini G.E.L., Los Angeles
Edition: 98, plus proofs
Catalogue Raisonné: MCAT 128
Signed, dated, and numbered in green crayon.
In 1969, Ed Ruscha completed a two-month fellowship at the Tamarind Lithography Workshop, a non-profit workshop founded by printer June Wayne to introduce a new generation of artists to lithography—an art form Wayne feared was fading into obscurity. During this time, Ruscha worked closely with Wayne, developing his printmaking craft and pushing the boundaries of the medium.
For Ruscha, the fellowship was an opportunity to explore his “romance with liquids,” a central theme in his Liquid Words series. Using trompe l’oeil techniques, Ruscha created hyper-realistic images that transformed ordinary materials into compelling, almost surreal visual experiences. Through this process, he examined the meanings and connotations of words. Reflecting on his dissection of language, Ruscha referred to its “visual temperature,” saying, “Sometimes I have a dream that if a word gets too hot and too appealing, it will boil apart, and I won’t be able to read or think of it.”
The Liquid Words series brings this dream to life, where words seem to melt into nearly unrecognizable shapes, shifting in meaning. In Hey (1969), the casual greeting seems to ooze and bubble with a sense of California cool, fleeting in nature as if it might disappear before being fully grasped. In Blood Boiling, Fly, the image radiates heat, evoking bodily sensations and recalling Ruscha’s Stains portfolio, a series of unusual prints created by applying wine, coffee, and sulfuric acid directly to paper. Ruscha even “signed” the portfolio with an imprint in his own blood.
The Liquid Words series also captures Ruscha’s characteristic sense of humor, as words take on new, often irreverent meanings. Despite the playfulness, it is the emotional response the word evokes that remains of greatest importance. Ruscha’s calculated atmospheric effects are perfectly realized through lithography, allowing him to convey both meaning and feeling with precise, layered depth.
Ed Ruscha
Hey, 1969
Lithograph
Sheet size: 11 7/8 x 13 5/8 inches
Printer and Publisher: Tamarind Lithography Workshop, Los Angeles
Edition: 20, plus proofs
Catalogue Raisonné: Engberg 28
Signed and dated in pencil, annotated BAT A remarkable impression acquired
Ed Ruscha
Blood Boiling, Fly, 1969
Lithograph
Sheet size: 11 7/8 x 13 5/8 inches
Printer and Publisher: Tamarind Lithography Workshop, Los Angeles
Edition: 20, plus proofs
Catalogue Raisonné: Engberg 27
Signed and dated in pencil, annotated BAT A remarkable impression acquired directly from the printer.
Ed Ruscha
Anchovy, 1969
Lithograph
Sheet size: 19 x 28 inches
Printer and Publisher: Tamarind Lithography Workshop, Los Angeles
Edition: 20, plus proofs
Catalogue Raisonné: Engberg 29
Signed, dated and numbered in pencil
Untitled, 1991-94
Sheet size: 26 1/2 x 39 1/8 inches, each
Printer: Derrière l’Etoile Studios, New York
Publisher: Brooke Alexander, New York
Edition: 15, plus proofs
Catalogue Raisonné: Schellmann 251-254
Each sheet is numbered in pencil and stamped by the estate, verso.
The rare complete set of four woodcuts.
Donald Judd
Untitled, 1991-94
Woodcuts
Sheet size: 26 1/2 x 39 1/8 inches, each
Printer: Derrière l’Etoile Studios, New York
Publisher: Brooke Alexander, New York
Edition: 15, plus proofs
Catalogue Raisonné: Schellmann 227-230
Each sheet is numbered in pencil and stamped by the estate, verso.
The rare complete set of four woodcuts.
Frank Stella
Double Gray Scramble, 1973
Screenprint
Sheet size: 29 x 50 3/4 inches
Printer and Publisher: Gemini G.E.L., Los Angeles
Edition: 100, plus proofs
Catalogue Raisonné: Axsom 93
Signed, dated, and numbered in pencil
Frank Stella
Empress of India I, 1968
Lithograph
Sheet size: 16 1/4 x 35 3/8 inches
Printer and Publisher: Gemini G.E.L., Los Angeles
Edition: 100, plus proofs
Catalogue Raisonné: Axsom 28
Signed, dated, and numbered in pencil
Empress of India II, 1968
Lithograph
Sheet size: 16 1/4 x 35 3/8 inches
Printer and Publisher: Gemini G.E.L., Los Angeles
Edition: 100, plus proofs
Catalogue Raisonné: Axsom 28
Signed, dated, and numbered in pencil
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