Tremaine Collection: Art and architecture photo index for three books (2019)

ADC staff
artdesigncafé - art | Tremaine Collection / Miller Co. art & design | 13 October 2019 | Updated 27 February 2020

The following is an index of photos of artworks and designs concerning the former Tremaine Collection from three sources: the biography Emily Hall Tremaine: Collector on a cusp (2001), by Kathleen Housley; Nancy Troy’s The afterlife of Piet Mondrian with a chapter focused on Victory Boogie Woogie, (2013); and Tranquil power: The art and life of Perle Fine by Kathleen Housley (2005).

A. Index of art and architecture photos in EHT biography by Kathleen Housley

For all photos, see the Emily Hall Tremaine: Collector on a cusp biography online.


A

> Josef Albers. Flying, (1929/1935). [Installation view, Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July- August 1948), page 95.]

> Unknown maker Austrian putti (two), (undated). [Third photo page after p. 120, two photos, view of Tremaine’s New York dining room, (undated).]


B

> Georges Braque. The black rose, (1927). [Page 60 & Installation view, Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July- August 1948), page 104.]

> (Burkina Faso). Antelope-shaped mask, (20th century). [Second photo page after p. 120, top; view of Tremaine’s New York living room, (undated).]


C

> Alexander Calder. Bougainvillea, (1947). [Installation view, Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July- August 1948), page 104; third photo page after p. 120, bottom; view of Tremaine’s New York dining room (partial view of artwork).]

> Mary Callery. Amity (study), (1946). [Installation view, Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July- August 1948), page 104.]

> Mary Callery. Water ballet, (1947). [Installation view (through door, in background), Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July- August 1948), page 104.]

> Le Corbusier. Watercolor, (1928). [Fifth photo page after p. 120, , unspecified Tremaine interior, (undated).]


D

> Cecil Clark Davis. The baroness, (undated). (Cover & first photo page after p. 120.)

> Robert Delaunay. Premier disque, (1912). [p. 85, artist’s studio view, (undated); and second photo page after p. 120, top, view of Tremaine’s New York living room, (undated).]

> Jim Dine. Crescent wrench, (1962). [Ninth photo page after p. 120 (partial view of the artwork), (undated); 10th photo page after p. 120, (undated). Both views of glass barn, Tremaine property, Madison, CT.]

> Jim Dine. The hammer acts, (1962). [Second photo page after p. 120, bottom, view of Tremaine’s New York master bedroom (Partial view of artwork), (undated).]

> Theo van Doesburg. Space-time construction #3, (1923). [Installation view, Painting toward architecture, Wadsworth Atheneum, Hartford, CT (1947-48), page 92.]

> Probably: Marcel Duchamp. Mona Lisa Rasé, (undated). [Fifth photo page after p. 120, unspecified Tremaine interior, (undated).]

> Marcel Duchamp, unidentified work, possibly Marcel Duchamp. Marcel Dechire, (1967). [Sixth photo page after p. 120, Tremaine interior view, probably New York, (undated).]


F

> Perle Fine. Analytical chart concerning Piet Mondrian’s Victory Boogie Woogie, (1943-44). (Page 88.)


G

> Alberto Giacometti. Homme qui marche sous la pluie / Man walking quickly under the rain, (cast c. 1947). [Fourth photo page after p. 120, (undated).]


H

> Raoul Hague. Swamp pepperwood, (1956). [Ninth photo page after p. 120, (undated).]

> Jean Hélion. Composition, (1934). [Installation view, Painting toward architecture, Wadsworth Atheneum, Hartford, CT (1947-48), partial view of artwork, page 92.]

> Hilary Heron. Girl with pigtails, (1950). [Ninth photo page after p. 120 (artwork next to fireplace), (undated).]


I

> Robert Irwin. Untitled, (1970). [13th photo page after p. 120, top, (undated).]


J

> Jasper Johns. Device circle, (1959). (16th photo page after p. 120.)

> Jasper Johns. Three flags, (1958). (14th photo page after p. 120.)

> Philip Johnson. Glass barn, remodel, Tremaine property, Madison, CT, (1951-55). [Ninth and tenth photo pages after p. 120, (undated).]

> Philip Johnson. Swimming pool and farmhouse remodel and extension, Tremaine property, Madison, CT, (1951-55). [Eighth photo page after p. 120, (undated).]


K

> Franz Kline. Lehigh, (1956). (10th photo page after p. 120, view of glass barn, Tremaine property, Madison, CT, (undated); p. 207, photo of Philip Johnson with artwork in the background installed at the Wadsworth Atheneum, 1984.)

> Willem de Kooning. Yellow woman, (1952). [Sixth photo page after p. 120, unspecified Tremaine interior, (undated).]

> Yasuo Kuniyoshi. Picking horses, (1937). [Seventh photo page after p. 120 (Partial view of artwork), Tremaine farmhouse, Madison, CT, (undated).]


L

> Fernand Léger. Le petit déjeuner, (1921). [Installation view, Painting toward architecture, Wadsworth Atheneum, Hartford, CT (1947-48), page 92; installation view, Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July - August 1948), page 95; and third photo page after p. 120, bottom; view of Tremaine’s New York dining room.]

> Roy Lichtenstein. I can see the whole room… and there’s nobody in it!, (1961). [Ninth photo page after p. 120, view of interior of glass barn, Tremaine property, Madison, CT, (undated).]


M

> Brice Marden. Elements I, (1981-82). [Seventh photo page after p. 120, (partial view of artwork), view of Tremaine farmhouse interior, Madison, CT, (undated).]

> Brice Marden. Marble #14, (1981). [Second photo page after p. 120, top, view of Tremaine’s New York living room, (undated).]

> Probably: Walter de Maria. Dark green - light green, (1977). [13th photo page after p. 120, top, view of Tremaine farmhouse interior, Madison, CT, (undated).]

> Roberto Matta. The splitting of the ergo, (1945-46). [10th photo page after p. 120 (partial view of the artwork), view of glass barn, Tremaine property, Madison, CT, (undated).]

> Joan Miró. Le chat blanc (or The cat’s whiskers), (1927). [Installation view, Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July- August 1948), page 104; and fourth photo page after p. 120.]

> Joan Miró. [Unidentified artwork; see Tremaine Collection artwork list]. (Fifth photo page after p. 120, unspecified Tremaine interior, (undated).]

> Piet Mondrian. Pier and ocean, (1914). [Second photo page after p. 120, bottom; view of Tremaine’s New York master bedroom, (undated).]

> Piet Mondrian. Victory Boogie Woogie, (1943-44). [Cover; p. ii; installation view, Painting toward architecture, Wadsworth Atheneum, Hartford, CT (1947-48), p. 92; and second photo page after p. 120, top; view of Tremaine’s New York living room, (undated).]

> Robert Motherwell. Spanish elegy #17, (1953). [Sixth photo page after p. 120, , unspecified Tremaine interior, (undated).]


N

> Louise Nevelson. Moon garden series, (1958). 3 1/2 x 11 x 3 1/4 in. [Sixth photo page after p. 120, , unspecified Tremaine interior, (undated).]

> Barnett Newman. The Euclidian Abyss, (1946-47). (15th photo page after p. 120.)


O

> Claes Oldenburg. Strong arm, (1961). [12th photo page after p. 120, unspecified Tremaine interior, (undated).]


P

> Pablo Picasso. Lady with a fan, (c. 1911 and 1918). [Installation view, Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July- August 1948), page 95; and third photo page after p. 120, top; view of Tremaine’s New York dining room.]

> Pablo Picasso. New Hebrides Mask / Tête, (1929). [Sixth photo page after p. 120, , unspecified Tremaine interior, (undated).]

> Jackson Pollock. Frieze, (1953-55). [Third photo page after p. 120, top, view of Tremaine’s New York dining room, (undated).]

> Jackson Pollock. Silver and black I, (1950). [Sixth photo page after p. 120, unspecified Tremaine interior, (undated).]


R

> Robert Rauschenberg. Windward, (1963). [Ninth photo page after p. 120, view of glass barn, Tremaine property, Madison, CT, (undated).]

> Man Ray, unidentified work, possibly: Man Ray. Collage II / IV, (undated). [Sixth photo page after p. 120, unspecified Tremaine interior, (undated).]

> Ad Reinhardt. Blue composition, (1959-60). [Sixth photo page after p. 120, unspecified Tremaine interior, (undated).]

> Lutah Maria Riggs. Brünninghausen, Montecito, California, (1936-38). (Pages 58 & 65.)

> Jean-Paul Riopelle. Printemps, (1952). [Sixth photo page after p. 120, unspecified Tremaine interior, (undated).]

> Jose de Rivera. Black, yellow, and red, (1942). [Installation view, Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July- August 1948), page 95.]

> Bruce Robbins. Ladder, (1976) [or Ladder (1976-67)]. [Second photo page after p. 120, bottom; view of Tremaine’s New York master bedroom, (partial view of artwork), (undated).]

> Mark Rothko. No. 8, (1952). [11th photo page after p. 120, unspecified Tremaine interior, (undated).]


S

> Senufo female form, (undated). [Second photo page after p. 120, top; view of Tremaine’s New York living room, (undated).]

> Probably: Tony Smith. Cigarette model, (1962). [Ninth photo page after p. 120 (artwork on table), view of glass barn, Tremaine property, Madison, CT, (undated).]

> Jesus Rafael Soto. [Unidentified artwork; see Tremaine Collection artwork list]. [13th photo page after p. 120, top, view of Tremaine farmhouse interior, Madison, CT, (undated).]


T

> Tam-Tam, (c. 1910). [Third photo page after p. 120, bottom; view of Tremaine’s New York dining room (partial view of artwork), (undated).]

> John Tremaine. Stone on wood, (undated). [Fifth photo page after p. 120, unspecified Tremaine interior, (undated).]


W

> Probably: Andy Warhol. 70 S & H Green Stamps, (1962). [Seventh photo page after p. 120 (partial view of artwork), view of Tremaine farmhouse interior, Madison, CT, (undated).]

> Andy Warhol. Head of Marilyn Monroe / Round Marilyn, (1962). (Page 160.)

> Presumably: Andy Warhol. Campbell’s Soup can (tomato), (1964). Shopping bag. [13th photo page after p. 120, bottom, view of Tremaine farmhouse interior, (undated).]

> Tom Wesselmann. Great American nude, (1961). (13th photo page after p. 120, bottom, view of Tremaine farmhouse interior, (undated).]


Other unidentified works in these photos:

> Installation view, Painting toward architecture, California Palace Legion of Honor, San Francisco, CA (July- August 1948). (Page 104.)

> Installation view, Painting toward architecture, Wadsworth Atheneum, Hartford, CT (1947-48). (Page 92.)


B. Index of Tremaine Collection-related photos in Nancy Troy’s book, The afterlife of Piet Mondrian, (2013)

This book is not online. See worldcat.org for locations.


A

> Josef Albers / Serge Chermayeff / Emily Hall Tremaine (?). Miller Company mailing label, (c. 1947). (Page 50.)


F

> Perle Fine. Analytical chart concerning Piet Mondrian’s Victory Boogie Woogie, (c. 1948). (Page 57, bottom.)

> Perle Fine. Copy / oil transcription (vs. "interpretation of a completed") Victory boogie woogie by Piet Mondrian, (1947). (Page 55, with Mondrian’s Victory Boogie Woogie.)

> Perle Fine. Interpretation of a completed Victory boogie woogie, (1948). (Page 57, top.)


K

> Willy Koch. Copy of Piet Mondrian’s Victory Boogie Woogie, (1946). (Not part of the Tremaine Collection, but related to it.) (Page 45.)

> Willy Koch. Copy of Piet Mondrian’s Victory Boogie Woogie, (1946) (not part of the Tremaine Collection, but related to it), as shown in Stedelijk Museum office, Amsterdam, partial view, (late 1950s). (Page 46, right.)


M

The following photos related to Piet Mondrian’s Victory Boogie Woogie are listed chronologically.

> Piet Mondrian working on Victory Boogie Woogie in late 1942. (Page 30, top.)

> Piet Mondrian. Victory Boogie Woogie, (1943-44), with Mondrian in his studio (c. August - October 1943). (Page 30, bottom.)

> Piet Mondrian. Victory Boogie Woogie, (1943-44) (in Mondrian’s studio, February 1944). (Page 17.)

> Piet Mondrian. Victory Boogie Woogie, (1943-44). (Plate 1, after p. 235; and detail: p. 41.)

> Piet Mondrian. Victory Boogie Woogie, (1943-44). [Cropped photo with view of the painting, in feature article "Black is right", Town and Country, (June 1944), p. 65. The photo of the work is with a fashion model, among several photos of models in Piet Mondrian’s studio.) (Page 37.)

> Piet Mondrian. Victory Boogie Woogie, (1943-44) (Installed in Mondrian Memorial Exhibition, Stedelijk Museum, Amsterdam, 6 November - 16 December 1946.) (Page 43.)

> Piet Mondrian. Victory Boogie Woogie, (1943-44). [Page 55, with Perle Fine’s copy (vs. "interpretation of a completed") of Victory Boogie Woogie, (photo, 1947).]

> Piet Mondrian. Victory Boogie Woogie, (1943-44). [Reprinted press clipping from De Waarheid, title: "Het schilderij van de week" ("The painting of the week"), 27 November 1948. (Page 46, left.]

> Piet Mondrian. Victory Boogie Woogie, (1943-44) [as installed in Mondrian: The New York Studio Compositions, Museum of Modern Art, (14 July - 27 September 1983)]. (Page 110, bottom.)

> Piet Mondrian. Victory Boogie Woogie, (1943-44) [in sales brochure for "Wall Works" in (2007)]. (Page 119.)


S

> Springbok Editions, Inc. Jigsaw puzzle utilizing the image of Mondrian’s Victory boogie woogie, (c. 1967). (Advertisement with photo of design.) (Page 18.)


C. Index of Tremaine-related photos in Tranquil power: The art and life of Perle Fine, (2005) by Kathleen Housley

This book is not online. See worldcat.org for locations.


F

> Perle Fine. Analytical chart concerning Piet Mondrian’s Victory Boogie Woogie, (1943-44). (Page 129.)

> Perle Fine. Copy / oil transcription (vs. "interpretation of a completed") Victory boogie woogie by Piet Mondrian, (1947). (Page 125, with Mondrian’s Victory Boogie Woogie.)

> Perle Fine. Midnight, (1942). (Page 132.)


M

> Joan Miró. Personnages dans la nuit, (1940). (Page 132.)

> Piet Mondrian. Victory Boogie Woogie, (1943-44). [Page 125, with Perle Fine’s copy (vs. "interpretation of a completed") of Victory Boogie Woogie, (photo, 1947).]