The Ladislav Trakal Foundation

(Self-Portrait) 1923–24 P001

P001
(Self-Portrait)
1923–24
Oil on canvas board
16 x 12 in. (40.6 x 30.5 cm)
Front, upper left: Gorky
Reverse not inscribed
Private collection
Gerald Peters Gallery, Santa Fe, Arshile Gorky: Three Decades of Drawings, September 22–October 4, 1990, no. 1, ill. in color, as “Self-Portrait.”
Greenville County Museum of Art, North Carolina, Arshile Gorky, July 7–August 22, 1993, no. 1, as “Self-Portrait.”
Herrera, Hayden. “The Artist’s Self Image: Self Portraits by Arshile Gorky.” In Arshile Gorky: Drawings to PaintingsAustinThe University of Texas at Austin, 1975Exhibition catalogue, fig. 1, ill. in b/w, p. 44, as “Self-Portrait.”
Herrera, Hayden. “Gorky’s Self Portraits: The Artist by Himself.” Art in America (New York) 64 (March–April 1976), fig. 1, ill. in b/w, p. 57, as “Self-Portrait.”
Karp, Diane. “Arshile Gorky: The Language of Art.” Ph.D. diss., University of Pennsylvania, Philadelphia, 1982, fig. 1, ill. in b/w, p. 169, as “Self Portrait.”
Jordan, Jim M. “The Paintings of Arshile Gorky: New Discoveries, New Sources, and Chronology.” In The Paintings of Arshile Gorky: A Critical Catalogueby Jim M. Jordan and Robert GoldwaterNew York and LondonNew York University Press, 1982, discussed p. 17, as “Self Portrait.”
Jordan, Jim M. “Catalogue Raisonné of Paintings.” In The Paintings of Arshile Gorky: A Critical Catalogueby Jim M. Jordan and Robert GoldwaterNew York and LondonNew York University Press, 1982, no. 1, ill. in b/w, pp. 125–26, as “Self Portrait.”
Herrera, Hayden. Arshile Gorky: His Life and WorkNew YorkFarrar, Straus, and Giroux, 2003, fig. 67, ill. in b/w, as “Self-Portrait.”
Reverse, on canvas board [not in artist’s hand]: Carrig-Rohane Shop / Columbus Ave. / between Berkley and Arlington
The reverse is covered by a backing board; the inscription information and marking are known from Jordan and Goldwater.

Commentary

The marking on the reverse, Carrig-Rohane Shop, refers to a well-known frame shop that was in Cambridge, Massachusetts. At the time that Gorky made this painting, he was taking evening classes at the New School of Design and Illustration (now the New School of Design), which was located on Boylston Street in Boston, not far from the framemakers’ store.

The painting’s first owner was Helen Austin (1904–2004), an artist who studied with Gorky at the Grand Central School of Art in New York for several years beginning in 1925. The only woman among a tight circle of friends in the class, she was affectionately known as “Sis.” After class Helen and her husband Nathaniel (1897–1975) would have dinner at Richard’s, a local restaurant off of Fourth Street, where Gorky frequently joined them.1

1. Hayden Herrera, Arshile Gorky: His Life and Work (New York: Farrar, Straus, and Giroux, 2003), 145.