Emily Mason and Alice Trumbull Mason Foundation

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Prints

Etching on paper of biomorphic forms, created using white and various grey tones. The background has a net-like quality to the surface/line work.

Interference of Closed Forms (ed. 5 of 20), 1945

Abstract print on paper comprised of grey, white, and black organic forms and curves lines. Some of the forms contain a net-like texture inside created by lines.

Orientation of Closed Forms (ed. 13 of 20), 1945

Abstract etching on paper comprised of organic , oblong, white forms. The background is mostly shades of grey, punctuated with a few red and blue markings. Some line work that has been created is net-like.

White Burden (ed. 5 of 30), 1946

Abstract print on paper comprised of organic forms; the line work is scratchy but also mimics nets and fabric on some forms. The colors used are black, white, blue, yellow, and red.

Variation of Surface Tension, 1946

Black and white etching of organic lines and forms, rendered in white, greys, and black. Some forms have net-like textural lines which mimic fabric.

White Scaffolding (ed. 8 of 30), 1946

Black and white etching of organic lines and forms, rendered in white, greys, and black.

Ellipsis (ed. 4 of 25), 1946

Abstract print on paper, comprised of biomorphic forms and lines. The lines have varying grey tones and are net-like, mimicking the texture of fabric.

Meanderthal Roturns (ed. 18 of 25), 1947

Abstract print on paper, comprised of biomorphic white forms overlapping two horizontal, thick, black wavy lines. Net-like lines appear as part of the grey background.

Deep Sound (ed. 6 of 25), 1947

Abstract print on paper, comprised of grey-toned geometric forms and abstract line work. Some forms contain organic and net-like textural lines.

Ghost Mark (ed. 16 of 25), 1949

Abstract print on paper, composed of two sets of white and black slanted rectangles in the center, surrounded by wavy, horizontal black and white lines. The back ground is comprised of grey tones, with intermittent net-like, black and red lines.

Inverse (ed. 5 of 20), 1949

Abstract grey-toned etching of two slanted rectangular forms, with smaller white rectangular forms in their centers. Net-like texture is punctuated throughout the composition.

March Time (ed. 7 of 25), 1950

Abstract etching consisting of red, pink, purple, and black rectangles, as well as rectangles filled with web-like lines, on white paper.

Transitive (ed. 5 of 20), 1950

Abstract print on paper comprised of two white squares and one white rectangle in the foreground, with black and grey organic lines and forms in the background of each.

Dactyl, 1952

Abstract print on paper of white lines and white triangles, some more filled in than others, overlapping with one large red rectangle and two slender red rectangles.

9 Triangles (ed. 10 of 20), 1952

Abstract print on paper, comprised of black, white, and yellow horizontal rectangles on the left and one vertical, thin, grey rectangle on the right. The overall composition has organic lines from woodgrain over all of the forms.

Kitty Hawk (ed. 5 of 12), 1953

An abstract print on black paper of vertical, slanted rectangles; one white and one orange. These shapes are layered between black curved lines, with a horizontal yellow rectangle in the background.

Leeway (ed. 7 of 20), 1954

A black and white etching on paper comprised of constellation-like textures and intermittent, solid white squares of varying sizes.

The Starry Firmament (ed. 4 of 25), 1954

Abstract print on paper of grey, blue, black, and orange horizontal stripes, intersected by white vertical stripes. There is a light peach-colored rectangle punctuating the black stripe on the left, and a vertical light-peach toned stripe to the right. A white border surrounds the composition.

Tidal Depths, Sekishu (ed. 7 of 30), 1954

Abstract print on paper comprised of yellow, red, orange, blue, black, and burgundy organic forms. White lines move horizontally throughout the composition.

Sunday Dawn (ed. 6 of 10), 1962

Abstract print on paper of four squares, two larger, blue and brown on the left, and two smaller, brown and red on the right. Each square has smaller, white rectangles inside of it.

A Discrete Series (ed.2), 1967