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1967 Castelli Gallery Exhibition Announcement, uniquely signed by Frank Stella1967
1967
$23,500
£18,296.32
€20,808.19
CA$33,810.88
A$37,139.77
CHF 19,409.47
MX$442,922.45
NOK 245,776.40
SEK 228,961.44
DKK 155,488.60
About the Item
Leo Castelli Gallery Exhibition Announcement for Frank Stella Paintings, November 25 – December 23, 1967.
With a later complimentary autograph
Uniquely signed in ink by Frank Stella in 2015
Historic Silkscreen on card paper
Issued in an unknown edition, unnumbered as issued
Hand signed and dated by Frank Stella in 2015 at the David Zwirner Gallery for the benefit of the Foundation for Contemporary Arts.
SCARCE Collectors' item when hand signed by Stella!
Good luck finding another of these historic 1967 prints anywhere in the world that is hand signed by Stella
22 x 22 inches
Unframed
Note: This iconic print was originally published in 1967 in an unsigned edition. The complimentary signature and date was added by Frank Stella in 2015
This gorgeous, much coveted, historic silkscreen invitation poster was created for the 1967 exhibition of Frank Stella's paintings at the legendary Leo Castelli Gallery. The poster itself is extremely valuable and collectible. However, exceptionally, Frank Stella hand signed and dated the work boldly in black marker in 2015, for the benefit of the Foundation for Contemporary Arts in New York City. An exhibition of posters from their collection, including this one, was held in 2016 at the David Zwirner Gallery in Manhattan.
Provenance:
Superb provenance: Donated by Frank Stella to the FCA and exhibited at Zwirner
FRANK STELLA BIOGRAPHY
Frank Stella was born in 1936 in Malden, Massachusetts. After attending high school at Phillips Academy in Andover, Massachusetts, he went on to Princeton University, where he painted and majored in history. Early visits to New York art galleries would prove to be an influence upon his artistic development. Stella moved to New York in 1958 after his graduation.
Stella’s art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in Three Young Americans at the Allen Memorial Art Museum at Oberlin College, as well as in Sixteen Americans at the Museum of Modern Art in New York (1959–60). Stella joined dealer Leo Castelli’s stable of artists in 1959. In his early series, including the Black Paintings (1958–60), Aluminum Paintings (1960), and Copper Paintings (1960–61), Stella cast aside illusionistic space for the physicality of the flat surface and deviated from the traditional rectangular-shaped canvas. Stella married Barbara Rose, later a well-known art critic, in 1961.
Stella’s Irregular Polygon canvases (1965–67) and Protractor series (1967–71) further extended the concept of the shaped canvas. Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at Gemini G.E.L. In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham. The Museum of Modern Art in New York presented a retrospective of Stella’s work in 1970. During the following decade, Stella introduced relief into his art, which he came to call “maximalist” painting for its sculptural qualities. Ironically, the paintings that had brought him fame before 1960 had eliminated all such depth. After introducing wood and other materials in the Polish Village series (1970–73), created in high relief, he began to use aluminum as the primary support for his paintings. As the 1970s and 1980s progressed, these became more elaborate and exuberant. Indeed, his earlier Minimalism became baroque, marked by curving forms, DayGlo colors, and scrawled brushstrokes. Similarly, his prints of these decades combined various printmaking and drawing techniques. In 1973, he had a print studio installed in his New York house.
From the mid-1980s to the mid-1990s, Stella created a large body of work that responded in a general way to Herman Melville’s Moby Dick. During this time, the increasingly deep relief of Stella’s paintings gave way to full three-dimensionality, with sculptural forms derived from cones, pillars, French curves, waves, and decorative architectural elements. To create these works, the artist used collages or maquettes that were then enlarged and re-created with the aid of assistants, industrial metal cutters, and digital technologies.
In the 1990s, Stella began making freestanding sculpture for public spaces and developing architectural projects. In 1992–93, for example, he created the entire decorative scheme for Toronto’s Princess of Wales Theatre, which includes a 10,000-square-foot mural. His 1993 proposal for a kunsthalle (arts center) and garden in Dresden did not come to fruition. His aluminum bandshell, inspired by a folding hat from Brazil, was built in downtown Miami in 1999. In 2001, a monumental Stella sculpture was installed outside the National Gallery of Art in Washington, D.C.
Stella’s work was included in several important exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museum’s The Shaped Canvas (1964–65) and Systemic Painting (1966). His art has been the subject of several retrospectives in the United States, Europe, and Japan. Among the many honors he has received was an invitation from Harvard University to give the Charles Eliot Norton lectures in 1983–84. Calling for a rejuvenation of abstraction by achieving the depth of baroque painting, these six talks were published by Harvard University Press in 1986.
-Courtesy Guggenheim
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