The Guston Catalogue Raisonné LLC, a subsidiary of The Guston Foundation, is pleased to present this digital catalogue raisonné as the authoritative resource for the study of Philip Guston’s oeuvre. The project invites scholars, students, and the public to explore the evolution of his practice and the relevance of his vision. Its digital format allows for ongoing updates as new research emerges. It also offers a distinct advantage over the traditional printed catalogue raisonné by allowing new scholarship, archival materials, and provenance to be added as they emerge. This framework ensures that the catalogue remains a living document and makes the work accessible to a global audience. The Guston Foundation is committed to documenting the complete artistic practice of Philip Guston. We trust that the following insights will provide you with a deeper understanding of his remarkable work and artistic journey.
“Catalogue Entry In Process” Explained
The digital painting catalogue raisonné was launched in 2020. In January 2026, a new design of the website was launched and included drawings in the catalogue raisonné section with CATALOGUE ENTRY IN PROCESS. This term refers to research that is ongoing or incomplete at the time of publication. Drawings in Museum collections also use CATALOGUE ENTRY IN PROCESS as bibliographic and exhibition history will be continually revised and added. Works owned by collectors usually contain partial information for which research is currently ongoing, outstanding, or otherwise incomplete. The information in this catalogue is intended to be accurate at the time of publication.
Please note that each painting in this catalogue has been assigned a unique Catalogue Raisonné Number (CR#). The numbering system begins with a prefix letter corresponding to the genre of the work. For the painting catalogue, the letter P represents the “Painting” genre. Following the prefix letter are two digits that signify the year the work was completed or is believed to have been completed. When a work has been assigned a “circa” date (indicated by a “c.”), the “c.” is not included as part of the CR#. Here, 80 = 1980. Because all known works were created between 1913 and 1980, the last two digits of the year are sufficient. The three digits following the period represent the Project’s sequencing of the works within a given calendar year. Guston did not list or otherwise document a temporal sequence as works were created and completed. Therefore, research, professional analysis and a response to the artist’s aesthetics has led to this sequence for the paintings.
The drawings also have a prefix letter corresponding to the genre of the work. This letter is D for the “drawing” genre. Please note that the sequence for the drawings has NOT been finalized and these are TEMPORARY numbers and will change when the catalogue raisonné of the drawings is completed.
Updates will be made on a regular basis, thereby making PhilipGuston.org the most current and comprehensive source for understanding Guston’s artistic practice. While the project endeavors to ensure the accuracy and completeness of information provided, the ongoing nature of our research necessitates that information in all areas of the publication may be subject to change upon receipt of new documentation. Please note that content may be added or removed at any time, in accordance with the project's Qualifications for Inclusion. For details, please refer to our Terms and Conditions of Use.
Catalogue Raisonné History
This present digital publication is the result of many decades of research. One year after Philip Guston’s death, in 1981, Musa Mayer, the artist’s daughter, initiated a catalogue raisonné of her father’s known paintings, and corresponded with collectors and museums, as well as correlated exhibition and bibliographic information for each work in a rudimentary database and in a series of binders with snapshots identifying each work. In 2005, Emily Jones, the Foundation’s archivist, transferred this information to a digital database and has continuously updated records, and expanded the provenance, exhibition, and bibliographic materials. For the following decade, until the McKee Gallery closed August 2015, after representing the artist for 41 years, David and Renee McKee and their staff furnished current bibliographic and provenance information to update the database.
Each work in this catalogue has been assigned a unique Catalogue Raisonné Number. The CR# begins with a prefix letter corresponding to the genre of the work. The letter P represents the “Painting” and D represents “Drawings”. Guston did not list or otherwise document a temporal sequence as works were created and completed. Therefore, research, professional analysis and a response to the artist’s aesthetics has led to the painting sequence. Please note that when the catalogue raisonné of Drawings is complete the current drawing CR numbers will change.
Acknowledgments
A digital catalogue raisonné depends upon two key components: information and functionality. This new phase builds upon the strong foundation laid in previous years—especially the original digital catalogue raisonné launched in 2020—when a remarkable group of individuals brought this ambitious project to life. We continue to be deeply grateful to those who envisioned, developed, and supported the core components of the original catalogue. Their contributions remain central to everything we’ve accomplished since. The database and website, originally conceived and built under the guidance of Jonathan Kadish, remain at the heart of this initiative. We are also thankful to Yuvasoft Solution Pvt., who helped bring the catalogue into full functionality, and to David Kadish, whose programming ensured the integrity of decades of previously archived data.
We remain indebted to David and Renee McKee, whose representation of Guston’s work for over four decades has been matched by their generous sharing of information, images, and insight. Their contributions were, and continue to be, essential. We also thank Kara Lenkeit, who continues to work with the McKees and provides indispensable help. The Estate of Philip Guston has been expertly represented by Iwan Wirth, Manuela Wirth, and Marc Payot since 2015. We are deeply appreciative of their steadfast commitment to Guston, as well as the contributions of the entire Hauser & Wirth team, including Michaela Unterdörfer, Cristopher Canizares, Barbara Corti, Yuta Nakajima, Francis Till, Pete Watts, Florian Berktold, James Koch, Fiona Römer and Neil Wenman, among many others. We are especially grateful to Anders Bergstrom, Emily Larson, Tiffany Wang and Lauren Murphy for their unwavering dedication and day-to-day support.
Cooperation and support from private collectors, museums, art dealers, researchers and other institutions have been and will continue to be instrumental to the conception and accuracy of this catalogue. We acknowledge their contributions with deep gratitude. The contributions of The Guston Foundation staff have been essential to both the original development, this 2025 redesign, and our future planning. Without the work of Emily Jones, Mark Mann, Keldon Polacco, Kerrigan Kessler, Gretchen Opie and Jeanette Vuoculo, this resource would not be possible. To all who have contributed—from before 2020 and from 2020 to 2025 and beyond—we express our deepest thanks. Your continued collaboration enables this catalogue raisonné and website to grow and evolve as a vital, digitally living document of Philip Guston's legacy.
Sally Radic
Executive Director
Musa Mayer
President