MILTON AVERY (1885-1965)

Nude Reclining

1948

Sepia ink on age-toned paper: sight size 16 1/8 x 13 1/8 inches.

Signed: Milton Avery (lower right) in gray/blue ball-point pen.

Above: there is no discernable vertical brown shadow at the right mat edge and the corner is slightly indented--but not as prominent as in the above photo.

Verso paper: (Lower left corner) in pencil and inside a circle the number 51. (Lower left edge to right) 23 (in graphite) Nude Reclining by Milton Avery 1948 (with grey/blue ball point pen). Same pen and handwriting as the signature on the front. (Forgive the image as the grey/blue ball point ink looks like graphite but it is blue (photo taken with another camera).

Verso paper: (Lower right corner) in graphite W1842 A (far right) a piece of LINECO transparent pH balanced mending tissue stabilizing a horizontal tear as described below on verso of paper.

Brown/black frame, 12/12/2022 new archival, acid free conservation rag mat and backboard and fitted with Tru Vue Museum glass (acrylic) 99% UV protection. Amazing clarity: 21 ½ x 18 ½ inches.

Condition: 5-6 horizontal tears into the margin that are now stabilized by LINECO transparent pH balanced mending tissue covered by museum conservation quality rag mat.

Upper right corner 1 1/4 inch long vertical tear that has been seamlessly stabilized by LINECO transparent pH balanced mending tissue.

The unusual aspect of this drawing is that Avery drew most of the nude without lifting his pen- thus the reason for the dots.

Photographic images: It is very difficult to photograph works on paper under glass outside in the Florida sunshine. Please be aware that the white areas on the paper (lower left) are reflections. The paper is evenly age toned but the camera is so sensitive that it shows every rumple of the paper that is not pasted down to the backboard (but this work on paper is not pasted down) but hinged to the acid-free PH balanced backboard. Also, the mat appears to be textured—it is not. The black stripe above the lower frame is a shadow. And the wood frame appears to have bumps above the surface but in fact they are inverted. There is some random schmutz on the glass during photography that has been subsequently removed.

Purchased in 1984 from the Foster Harmon Galleries of American Art, Sarasota, FL. I have the original Bill of Sale.

If you require much larger images, let me know.