George L. K. Morris was interested in the cross-over potential of music, an enthusiasm he shared with his frequent co-conspirator, Albert E. Gallatin. While both deployed collaged elements in their work, Morris particularly enjoyed sheet music because it was an abstract representation of an abstract art-form. Morris's wife, Suzy Frelinghuysen, was a vanguard painter as well as an acclaimed opera singer, and music was an important part of their married lives and artistic careers. The title of the present work is taken from the sheet of music at the center of the composition. Other abstracted elements include a piano bench, piano keys and the curving tail on a treble clef symbol.
[The Downtown Gallery, New York]; to Charles Wimpfheimer, New York, 1950; to [Sale: Christie's, New York, March 16, 1990, lot 370]; to Private collection, Katonah, New York, until 2018; By bequest to present owner, 2018 until the present
Menconi + Schoelkopf, New York, The Park Avenue Cubists, April 26-June 4, 2021, no. 6, illus.
Sales Slips, 1950; Stock Books, C-R, 1941-1960s, Downtown Gallery records, 1824-1974, Archives of American Art, Smithsonian Institution
Subscribe to our mailing list and newsletter for updates on exhibitions, art fairs and more