FRANKSTELLA
WhatYouSeeIsWhatYouSee
rank Stella, one of the most influential and experimental printmakers of the 20th century, has spent decades creating prints and multiples as an essential part of his artistic output. During this time he has made more than three hundred editions and used a huge array of groundbreaking techniques to create this vast body of work.
Having made his printmaking debut with his contribution to the ʻTen Works by Ten Paintersʼ portfolio, 1964, it wasnʼt until Stella was persuaded by Ken Tyler to join him at Gemini Graphics, in 1967, that printmaking became a major part of Stellaʼs practice.
Tyler founded Gemini Graphics in Los Angeles in 1966, and within a year he was working with some of the biggest names in contemporary art. Ken Tyler and Frank Stella met in New York in 1960, when Stella was showing at the Leo Castelli Gallery, and the working relationship between the two men became one of the most important in Stellaʼs artistic career.
Stella rarely collaborated with other printers. It was Tylerʼs indomitable character, as well as his reputation as one of the finest master printers, which gave Stella the freedom to explore new processes and encourage him to stretch himself. Indeed, Ken Tyler described Stella as an
Tylerʼs guidance helped persuade him that printmaking opened up an array of new artistic possibilities in his work. Not only could Stella achieve a purity of colour and form in his early minimalist work, but he found that that lithography suited his intentions. In his early prints, Stella referenced his paintings, and though clearly not copies, they have an indelible link.
In the 1970s, Stella began incorporating etching into his wider printmaking practice, combining techniques to create a style that blended the baroque and the abstract. Tylerʼs expertise further facilitated Stellaʼs experimentation throughout the decade, weaving together elements of screenprinting, lithography, woodcut and hand colouring. The creative collaboration dispelled preconceived notions of the limitations of the craft, and resulted in an utterly unique output which influenced art history thereafter.
Frank Stella often created works in series, either in variations of colour, size, form or narrative, something which is evident across his artistic oeuvre. A fine example being the Moby Dick prints, which were created over a period of 12 years from 1985-1997, and are one of his most ambitious undertakings, in both physical size and array of techniques.
Stella never felt that printmaking was secondary to his paintings and sculptures: he uses both engraving and other printing techniques in his large paintings. In the 1970s he incorporated paper reliefs, which he hand-coloured, giving texture and sculptural form to paper. It is through this experimental layering of methods and materials, that Stella developed his unique, and influential, style.
Both masters of their own crafts, Stella and Tyler joined forces and reached new heights with their collaboration. Alchemically blending their passions and predilections they together generated a prolific and historic body of work.
Shapero Modernʼs exhibition celebrates this collaboration – it explores Stellaʼs creative output from his earliest works, and follows his creative process, through his deep connection with the master printer Ken Tyler, from minimalism to maximalism.
ʻI knew absolutely nothing about printmaking when I started out, and I donʼt really know anything about it now. People forget that when youʼre making art, you just screw around. ʼ (Frank Stella)
Tabitha Philpott-Kent Gallery DirectorShapero Modern
Fortin de las Flores (First Version)
Screenprint, 1967, with hand-pencil on English Vellum Graph paper, signed, dated and numbered from the edition of 200, printed by Fine Creations, Inc., New York, published by
Tanglewood Press, New York. 46 x 58.4cm.
Axsom 0
Ref: 102362
IfafaI
Lithograph,1968,withvarnishonLowellpaper,signed,datedandnumberedfromtheedition of100,publishedbyGeminiG.E.L.,LosAngeles.41.3x56.8cm.
Axsom21
Ref:103137
Impress of India I
Lithograph, 1968, on Lowell paper, signed, numbered and dated from the edition of 100, published by Gemini G.E.L., Los Angeles. 41.3 x 89.9cm.
Axsom 27
Ref: 103228
Impress of India II
Lithograph, 1968, on Lowell paper, signed, numbered and dated from the edition of 100, published by Gemini G.E.L., Los Angeles. 41.3 x 89.9cm.
Axsom 28
Ref: 103227
Referendum ʻ70
Screenprint, 1970, signed, dated and numbered an AP aside from the edition of 200, published by Gemini G.E.L., Los Angeles. 99.5 x 98cm.
Axsom 49
Ref: 102904
Rakow
Acrylic, fabric and felt collage, 1972, on paperboard laid down on panel, signed, titled and dated '"RAKOW (SKETCH)" F Stella 72'. 70.5 x 75.5cm.
Ref: 102240
Ileana Sonnabend
Lithograph, 1972, on Zerkall Copperplate Deluxe paper, signed and dated from the edition of 100, published by Gemini G.E.L., Los Angeles. 40.6 x 55.9cm.
Axsom 65
Ref:104890
Lithograph, 1972, on Zerkall Copperplate Deluxe paper, signed and dated from the edition of 100, published by Gemini G.E.L., Los Angeles. 40.6 x 55.9cm.
Axsom 68
Ref:104893
Lithograph, 1972, on Zerkall Copperplate Deluxe paper, signed and dated from the edition of 100, published by Gemini G.E.L., Los Angeles. 40.6 x 55.9cm.
Axsom 69
Ref:104894
Louisiana Lottery Co.
Lithograph, 1972, on J. Green mould-made paper, signed and dated, an AP aside from the edition of 100, published by Petersburg Press Ltd., London. 40.6 x 55.9cm.
Axsom 77
Ref:103777
Gran Cairo
Lithograph , 1972, on J. Green mould-made paper, signed and dated, an AP aside from the edition of 100, published by Petersburg Press Ltd., London. 40.6 x 55.9cm.
Axsom 81
Ref:103778
Honduras Lottery Co.
Lithograph, 1972, on J. Green mould-made paper, signed and dated, an AP aside from the edition of 100, published by Petersburg Press Ltd., London. 40.6 x 55.9cm.
Axsom 76
Ref: 103659
Les Indes Galantes I
Lithograph, 1973, on J. Green mould-made paper, signed, dated and numbered from the edition of 100, published by Petersburg Press Ltd., London. 40.6 x 55.9cm.
Axsom 86
Ref:104895
Les Indes Galantes III
Lithograph, 1973, on J. Green mould-made paper, signed, dated and numbered from the edition of 100, published by Petersburg Press Ltd., London, 40.6 x 55.9cm.
Axsom 88
Ref: 103136
Les Indes Galantes IV
Lithograph, 1973, on J. Green mould-made paper, signed, dated and numbered from the edition of 100, published by Petersburg Press Ltd., London. 40.6 x 55.9cm. Axsom 89
Les Indes Galantes V
Lithograph, 1973, on J. Green mould-made paper, signed, dated and numbered from the edition of 100, published by Petersburg Press Ltd., London. 40.6 x 55.9cm.
Axsom 90
Ref:103135
York Factory II
Screenprint, 1974, on black Arches Cover paper, signed and dated, an AP aside from the edition of 100, published by Gemini G.E.L., Los Angeles, 46.9 x 112.8cm.
Axsom 94
Ref: 103386
Olyka (III)
Cotton-pulp relief collage, hand-coloured with dyes and dry pigments, 1975, on white HMP handmade paper, signed and dated in pencil, published by Tyler Graphics Ltd., Bedford Village, NY. 63 x53.5 x 3cm.
Axsom 106.3
Ref: 102361
Sinjerli Variation Ia
Lithograph and screenprint, 1977, on Arches Cover Paper, signed, dated and numbered from the edition of 100, published by Petersburg Press, New York. 81.3 × 107.3cm.
Axsom 114
Ref: 101732
Sinjerli Variation
The complete set of six lithographs and screenprints, 1977, on Arches Cover Paper, signed, dated and numbered from the edition of 100, published by Petersburg Press, New York.
81.3 × 107.3cm.
Axsom 113-118
Ref: 102488
Polar Co-ordinates VIII for Ronnie Peterson
A unique lithograph and screenprint with extensive hand-colouring in tempera, acrylic paint, gouache, crayon and glitter, 1980, on Arches paper, signed and dated, a hand-coloured AP aside from the edition of 100, published by Petersburg Press, New York. 97.8 x 96.2cm.
Axsom 126
Ref: 102113
Polar Co-ordinates for Ronnie Peterson
The complete set of eight lithographs, screenprints with letterpress, 1980, on 320 gram Arches Cover paper, each signed, dated and numbered from the edition of 100, published by Petersburg
Press, New York. 97.8 x 96.2cm.
Axsom 119 - 126
Ref: 103134
Sinjerli Variations Squared with Black Grounds (I)
Lithograph with screenprint, 1982, on Arches Cover paper, signed and dated, a Trial Proof from aside the edition of 100, published by Petersburg Press, New York. 81.3 × 107.3cm.
Axsom p.216
Ref: 101691
Shards I
Lithograph and Screenprint, 1982, on Arches Cover paper, signed, dated and numbered from the edition of 100, published by Petersburg Press, New York. 115.6 x 101cm.
Axsom 144
Ref: 102487
Shards III
Lithograph and Screenprint, 1982, on Arches Cover Paper, signed, dated and numbered from the edition of 100, published by Petersburg Press, New York, 114.9 x 101cm.
Axsom 146
Ref: 101733
Lithograph, 1982, on white Arches Cover mould-made paper, signed and dated, an AP aside from the edition of 50, published by Tyler Graphics Ltd., Bedford Village, NY. 133.5 x 97.8cm.
Axsom 162
Ref: 102236
Swan Engraving Circle II, State III
Etching, relief, engraving, 1983, on medium yellow TGL handmade paper, signed, dated and numbered from the edition of 5, published by Tyler Graphics Ltd., Bedford Village, NY. 133 cm.
Axsom 166c
Ref: 103782
The Waves: A Squeeze of the Hand
Screenprint, lithograph, linocut, marbling and collage, with additional hand-colouring, 1988, on
T.H. Saunders and Somerset wove paper, signed, dated and numbered from the edition of 60, published by Waddington Graphics, London. 185.6 x 139cm.
Axsom 197
Ref: 103053
The Waves: Squid
Silkscreen, lithograph, linoleum block with hand-colouring, marbling and collage, 1989, on T. H.
Saunders and Somerset paper, signed, dated and numbered from the edition of 60, published by Waddington Graphics, London. 190 x 139cm.
Axsom 188
Ref: 102306
The Waves: The Great Heidelburgh
Tun
Silkscreen, lithograph, linoleum block with hand-colouring, marbling and collage, 1989, on T. H.
Saunders and Somerset paper, signed, dated and numbered from the edition of 60, published by
Waddington Graphics, London. 190 x 139cm.
Axsom 186
Ref: 102248
The Waves: The Quarter-Deck
Silkscreen, lithograph, linoleum block with hand-colouring, marbling and collage, 1989, on T. H.
Saunders and Somerset paper, signed, dated and numbered from the edition of 60, published by Waddington Graphics, London. 190.5 x 141.5cm.
Axsom 189
Ref: 102239
Jonah Historically Regarded
Etching, aquatint, relief, screenprint, drypoint, carborundum, engraving, 1991,on white TGL handmade paper, signed, dated and numbered from the edition of 30, published by Tyler Graphics Ltd, Mount Kinsco, NY. 186.7 x 139.1cm.
Axsom 204
Ref: 102237
Fattiburg
Silkscreen,1996, lithograph, etching, aquatint, relief, engraving, stamping on white TGL handmade paper, metallized silver foil, signed, dated and numbered from the edition of 35, published by Tyler Graphics Ltd., Mount Kisco, NY. 32 cm
Axsom 242
Ref: 102360
SHAPERO Modern
41-43 Maddox Street
London W1S 2PD
+44 (0)20 3693 2197
modern@shapero.com
TERMS AND CONDITIONS
All items in this catalogue are guaranteed to be complete unless otherwise stated.
The illustrations are not equally scaled.
VAT Number GB 105 103 675
Design by Costanza Sciascia
Photography by Natasha Marshall