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Richard Diebenkorn
Richard Diebenkorn, Olympic Lithograph, 1984, Deluxe signed Lt Ed w/official COA

1982

$4,550
$7,00035% Off
£3,420.40
£5,262.1535% Off
€3,965.33
€6,100.5035% Off
CA$6,352.51
CA$9,773.0935% Off
A$7,115.14
A$10,946.3835% Off
CHF 3,702.25
CHF 5,695.7635% Off
MX$86,412.94
MX$132,942.9835% Off
NOK 46,935.08
NOK 72,207.8135% Off
SEK 44,286.74
SEK 68,133.4535% Off
DKK 29,586.98
DKK 45,518.4335% Off
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About the Item

Richard Diebenkorn 1984 Olympic Lithograph (Hand signed deluxe limited edition w/Olympic Committee COA), 1982 Offset Lithograph on Parsons Diploma Parchment paper 24 × 36 inches Edition of 750 Hand signed by Richard Diebenkorn in graphite pencil on the front (unnumbered) Published by Knapp Communications Corporation for Los Angeles Olympic Organizing Committee Accompanied by a letter of authenticity from the publisher. This is one of only 750 hand signed lithographic posters, published in 1982 to celebrate the 1984 Los Angeles Olympics . However, the publisher is said to have destroyed many of the works that did not sell in the original marketing period, so only about 200-250 are said t remain. The Olympic Committee commissioned 15 nationally known artists, including West Coast artists like Sam Francis and Richard Diebenkorn, to create unique designs to promote the event. This was Diebenkorn's contribution to the portfolio. Hand signed Richard Diebenkorn prints (with the full signature) like this are extremely elusive and desirable. excellent provenance as it was acquired as part of the complete portfolio of limited edition hand signed Olympic prints, all held in the original box with colophon. All of the works in this rare portfolio, including this Diebenkorn lithograph, are unnumbered, but hand signed from the limited edition 750. In 2017, the Olympic Museum in Lausanne Switzerland featured all 15 lithographs from this portfolio: “The 1980s were marked by non-conformism, eccentricity, audacity and joie de vivre,” say the exhibition organizers, “All these elements are clearly expressed in the stylistic vocabulary chosen by the organizers of the 1984 Games in Los Angeles, with its fun approach and acid colors.” Richard Diebenkorn Biography: Richard Clifford Diebenkorn Jr. was born in April 1922 in Portland, Oregon. When he was two years old his father, who was a hotel supply sales executive, relocated the family to San Francisco. Diebenkorn attended Lowell High School from 1937–40, and entered Stanford University in 1940. There he concentrated in studio art and art history, studying under Victor Arnautoff and Daniel Mendelowitz. The latter encouraged his interest in such American artists as Arthur Dove, Charles Sheeler and Edward Hopper. Mendelowitz also took his promising student to visit the home of Sarah Stein, sister-in-law of Gertrude Stein, where he saw works by Paul Cézanne, Pablo Picasso and Henri Matisse; this early exposure to European modernism opened doors that continued to beckon in the future. In June 1943 Diebenkorn married fellow Stanford student Phyllis Gilman; they would have two children, Gretchen (born 1945) and Christopher (born 1947). Diebenkorn served in the U.S. Marine Corps from 1943 until 1945. While stationed in Quantico, Virginia, he visited a number of important collections of modern art, including the Museum of Modern Art in New York, the Gallatin Collection at the Philadelphia Museum of Art, and the Phillips Collection in Washington, D.C. He internalized influences from Cézanne, Julio González, Paul Klee, Joan Miró, Mark Rothko and Kurt Schwitters; certain key paintings, such as Matisse’s 1916 Studio, Quai St. Michel at the Phillips Collection were especially compelling for him. During this time he produced representational sketches that would continue when he was stationed in Southern California and in Hawaii, and that constitute his “wartime” work. Returning from military duty to San Francisco in 1946, Diebenkorn took advantage of the G.I. bill to study at the California School of Fine Arts. There he met many serious contemporaries who would remain friends and artistic colleagues, and an older one, David Park, who would have an especially important influence on him. In 1946 he received the Albert Bender Grant-in-Aid fellowship, allowing him to spend nearly a year in Woodstock, New York, in an environment where serious abstract artists were finding their experimental ways. In New York City, he had his first contact with William Baziotes and Bradley Walker Tomlin. Diebenkorn’s relatively small canvases of this period reflect these sources, many of whom were influenced by Picasso. Diebenkorn and his wife, Phyllis, returned to San Francisco in 1947; they settled in Sausalito, and the artist became a faculty member at the California School of Fine Arts. Fellow teachers there included Elmer Bischoff, Edward Corbett, David Park, Hassel Smith, Clay Spohn and Clyfford Still. His first one-person exhibition was held at the California Palace of the Legion of Honor in 1948. In 1949, he was awarded his B.A. degree from Stanford. It was during this interval—1947 to late 1949—that the works of the “Sausalito period” took shape. -Courtesy of the Diebenkorn Foundation
  • Creator:
    Richard Diebenkorn (1922-1993, American)
  • Creation Year:
    1982
  • Dimensions:
    Height: 24 in (60.96 cm)Width: 36 in (91.44 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    New York, NY
  • Reference Number:
    1stDibs: LU1745213058372

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