KENNETH NOLAND "STOCKHOLM" SCREENPRINT, 1973
Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved figures in the Color-Field movement.
Unlike many of his contemporaries, such as Helen Frankenthaler and Sam Gilliam, Noland was not interested in printmaking and only completed a handful of editioned works. When he did create a print it was typically for charitable purposes.
This work comes from the portfolio entitled The New York Collection for Stockholm. In the early 1970s, thirty American artists submitted a print toward a fundraiser for the Moderna Museum in Sweden. The funds were intended to help the museum acquire contemporary American art. The initiative was led by Robert Rauschenberg, in addition to contributions from Andy Warhol, Sol LeWitt, Louise Nevelson, Ellsworth Kelly, Dan Flavin, Richard Serra, and Lee Bontecou to mention a fews.
Noland's contribution is a fine, yet intimate example of his exploration of stripes. Around 1967 Noland began experimenting with horizontal bands of color of varying widths and arrangements. This was a departure from the asymmetrical, circular, and irregularly shaped canvases that propelled his reputation in the 1960's. While a number of artists, including Guido Molinari and Gene Davis, similarly embraced stripes, Noland's approach was noticeably more restless and unpredictable as he embraced color interaction as opposed to expressions that approached Op art or minimalism.
Noland is under-appreciated as a colorist. His brave color combinations remain remarkably vital and appealing half a century after their creation. In this untitled work, Noland pairs luxe shades of blush and plum which cover most of the vertical bandwidth, while complementary accents of tomato red and olive appear at the top and bottom of the work, respectively.
Noland's striped bands are some of the most iconic and desirable works within the 20th-century art canon. This piece is a fine example of one of Noland's creations and a demonstration of his ingenuity and unique style as a printmaker.
Questions about this artwork? Contact us or call +1.416.704.1720
Visit our Toronto gallery on Thursdays or by appointment.
"Untitled, from the New York Collection for Stockholm"
USA, 1973
Screenprint on paper
Signed, dated 3/14/73, and numbered 5/6 by the artist verso
From an edition of 6
9"H 12"W (work)
17.5"H 22"W (framed)
Very good condition.
Note: the edition was stamped-signed, however this example was hand-signed, numbered and dated by the artist. We believe it to be one of the "Hors Commerce" outside the edition. "Hors Commerce" are presentation examples from a series of prints. "H.Cs" are typically used to show museums and are considered an ideal example of the print.
Note: additional images coming soon.
Original: $3,000.00
-70%$3,000.00
$900.00More Images
KENNETH NOLAND "STOCKHOLM" SCREENPRINT, 1973
Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved figures in the Color-Field movement.
Unlike many of his contemporaries, such as Helen Frankenthaler and Sam Gilliam, Noland was not interested in printmaking and only completed a handful of editioned works. When he did create a print it was typically for charitable purposes.
This work comes from the portfolio entitled The New York Collection for Stockholm. In the early 1970s, thirty American artists submitted a print toward a fundraiser for the Moderna Museum in Sweden. The funds were intended to help the museum acquire contemporary American art. The initiative was led by Robert Rauschenberg, in addition to contributions from Andy Warhol, Sol LeWitt, Louise Nevelson, Ellsworth Kelly, Dan Flavin, Richard Serra, and Lee Bontecou to mention a fews.
Noland's contribution is a fine, yet intimate example of his exploration of stripes. Around 1967 Noland began experimenting with horizontal bands of color of varying widths and arrangements. This was a departure from the asymmetrical, circular, and irregularly shaped canvases that propelled his reputation in the 1960's. While a number of artists, including Guido Molinari and Gene Davis, similarly embraced stripes, Noland's approach was noticeably more restless and unpredictable as he embraced color interaction as opposed to expressions that approached Op art or minimalism.
Noland is under-appreciated as a colorist. His brave color combinations remain remarkably vital and appealing half a century after their creation. In this untitled work, Noland pairs luxe shades of blush and plum which cover most of the vertical bandwidth, while complementary accents of tomato red and olive appear at the top and bottom of the work, respectively.
Noland's striped bands are some of the most iconic and desirable works within the 20th-century art canon. This piece is a fine example of one of Noland's creations and a demonstration of his ingenuity and unique style as a printmaker.
Questions about this artwork? Contact us or call +1.416.704.1720
Visit our Toronto gallery on Thursdays or by appointment.
"Untitled, from the New York Collection for Stockholm"
USA, 1973
Screenprint on paper
Signed, dated 3/14/73, and numbered 5/6 by the artist verso
From an edition of 6
9"H 12"W (work)
17.5"H 22"W (framed)
Very good condition.
Note: the edition was stamped-signed, however this example was hand-signed, numbered and dated by the artist. We believe it to be one of the "Hors Commerce" outside the edition. "Hors Commerce" are presentation examples from a series of prints. "H.Cs" are typically used to show museums and are considered an ideal example of the print.
Note: additional images coming soon.
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Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved figures in the Color-Field movement.
Unlike many of his contemporaries, such as Helen Frankenthaler and Sam Gilliam, Noland was not interested in printmaking and only completed a handful of editioned works. When he did create a print it was typically for charitable purposes.
This work comes from the portfolio entitled The New York Collection for Stockholm. In the early 1970s, thirty American artists submitted a print toward a fundraiser for the Moderna Museum in Sweden. The funds were intended to help the museum acquire contemporary American art. The initiative was led by Robert Rauschenberg, in addition to contributions from Andy Warhol, Sol LeWitt, Louise Nevelson, Ellsworth Kelly, Dan Flavin, Richard Serra, and Lee Bontecou to mention a fews.
Noland's contribution is a fine, yet intimate example of his exploration of stripes. Around 1967 Noland began experimenting with horizontal bands of color of varying widths and arrangements. This was a departure from the asymmetrical, circular, and irregularly shaped canvases that propelled his reputation in the 1960's. While a number of artists, including Guido Molinari and Gene Davis, similarly embraced stripes, Noland's approach was noticeably more restless and unpredictable as he embraced color interaction as opposed to expressions that approached Op art or minimalism.
Noland is under-appreciated as a colorist. His brave color combinations remain remarkably vital and appealing half a century after their creation. In this untitled work, Noland pairs luxe shades of blush and plum which cover most of the vertical bandwidth, while complementary accents of tomato red and olive appear at the top and bottom of the work, respectively.
Noland's striped bands are some of the most iconic and desirable works within the 20th-century art canon. This piece is a fine example of one of Noland's creations and a demonstration of his ingenuity and unique style as a printmaker.
Questions about this artwork? Contact us or call +1.416.704.1720
Visit our Toronto gallery on Thursdays or by appointment.
"Untitled, from the New York Collection for Stockholm"
USA, 1973
Screenprint on paper
Signed, dated 3/14/73, and numbered 5/6 by the artist verso
From an edition of 6
9"H 12"W (work)
17.5"H 22"W (framed)
Very good condition.
Note: the edition was stamped-signed, however this example was hand-signed, numbered and dated by the artist. We believe it to be one of the "Hors Commerce" outside the edition. "Hors Commerce" are presentation examples from a series of prints. "H.Cs" are typically used to show museums and are considered an ideal example of the print.
Note: additional images coming soon.
