Alice Trumbull Mason, March Time, c. 1950. Etching and aquatint, sheet: 20 × 22 3/16 in. (50.8 × 56.4 cm)
Plate: 13 13/16 × 17 9/16 in. (35.1 × 44.6 cm). Whitney Museum of American Art, New York; purchase, with funds from the Print Committee 85.39. © Estate of Alice Trumbull Mason / Licensed by VAGA at Artists Rights Society (ARS), New York
On behalf of Emily Mason, Trustee
Not on view
Date
c. 1950
Classification
Prints
Medium
Etching and aquatint
Dimensions
Sheet: 20 × 22 3/16 in. (50.8 × 56.4 cm)
Plate: 13 13/16 × 17 9/16 in. (35.1 × 44.6 cm)
Accession number
85.39
Edition
7/25
Credit line
Purchase, with funds from the Print Committee
Rights and reproductions
© Estate of Alice Trumbull Mason / Licensed by VAGA at Artists Rights Society (ARS), New York
On behalf of Emily Mason, Trustee
Exhibitions
Installation photography
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Installation view of Labyrinth of Forms: Women and Abstraction, 1930-1950 (Whitney Museum of American Art, New York, October 9, 2021-March 2022). From left to right: Irene Rice Pereira, Abstract Composition, c. 1938; Minna Citron, Death of a Mirror, 1946; Blanche Lazzell, Untitled (Abstraction), 1932; Rosalind Bengelsdorf, Abstract Collage, 1937-38; Alice Trumbull Mason, March Time, c. 1950. Photograph by Ron Amstutz
From the exhibition Labyrinth of Forms:
Women and Abstraction, 1930–1950 -
Installation view of Labyrinth of Forms: Women and Abstraction, 1930-1950 (Whitney Museum of American Art, New York, October 9, 2021-March 2022). From left to right: Lee Krasner, Still Life, 1938; Charmion von Wiegand, Untitled, c. 1942; Alice Trumbull Mason, Labyrinth of Closed Forms, 1945; Elaine de Kooning, Untitled, c. 1947; Rosalind Bengelsdorf, Compotier II, 1938; Elise, Untitled (Abstract, Ovoids and Lines), c. 1935; Katherine Dreier, 40 Variations, 1934; Louise Nevelson, Untitled, 1934; Irene Rice Pereira, Abstract Composition, c. 1938; Minna Citron, Death of a Mirror, 1946; Blanche Lazzell, Untitled (Abstraction), 1932; Rosalind Bengelsdorf, Abstract Collage, 1937-38; Alice Trumbull Mason, March Time, c. 1950. Photograph by Ron Amstutz
From the exhibition Labyrinth of Forms:
Women and Abstraction, 1930–1950