Kenneth Noland (1924-2010)
Inward and Outward Bound, 1973; Acrylic on canvas; signed and dated 'Kenneth Noland 1973' verso; Mounted to a wooden stretcher; Pictured on pg. 75 of the book "Kenneth Noland" by Kenworth Moffett, 1977; Size - Canvas: 102 1/8 x 164"; Price On Request!
Shadow Line, 1968; Serigraph on canvas laid on board; Signed, dated, and numbered 7/150 verso; Published by Dokumenta IV, Kassel, Germany; Size - 16 3/4 x 47 1/4", Frame 19 x 49 1/2"; Framed using a natural wood frame and floated on a linen mat; SOLD!
Circle II, I-13, from Handmade Paper Project, 1978; Handmade paper composed of five layers of colored paper pulp with one monotype litho printing; Signed & dated Noland 78 in pencil bottom right; Annotated I-13 in pencil left verso; Published by Tyler Graphics, Ltd., Bedford, New York, with their blindstamp lower right; Andre Emmerich Gallery sticker on verso of frame; Size - 21 x 32", Frame 22 x 33"; Framed floated on a white mat, silver frame, & plexiglass; SOLD!
Untitled, 2009; Etching and aquatint in colors, on wove paper; Signed with initials K N lower right and numbered 42/65 in pencil bottom left; Pace Editions, Inc., New York; Size - 35 1/4 x 35", Frame 38 1/2 x 38"; Framed floated on a white mat, white wood frame, & plexiglass; SOLD!
Untitled, 1977; Watercolor and graphite on canvas board; Signed Kenneth Noland and dated 1977 in graphite pencil lower left; Framed with two linen liners and a white wood frame; Size - Canvas: 10 1/4 x 11", Image: 7 1/2 x 7 1/2", Frame: 21 1/4 x 22"; SOLD!
Circle II, I-7, from Handmade Paper Project, 1978; Handmade paper composed of five layers of colored paper pulp with one monotype litho printing; Signed & dated Noland 78 in pencil bottom right; Published by Tyler Graphics, Ltd., Bedford, New York, with their blindstamp lower right; Annotated I-7 in pencil left verso; Size - 21 x 32", Frame 34 1/2 x 44 1/2"; Framed with a black wood frame, floated and acid free matted, and plexiglass; SOLD!
# 1, 1976; Signed, titled, and dated "Kenneth Noland/No 1 1976" in blue ink verso; Top notation and Signed "Kenneth Noland, 1977" on board attached to verso of the frame backing; Handmade paper; Thomas Segal Gallery and International Institute of Experimental Printmaking stickers on verso of frame; Size - 34" x 34", Frame 41" x 41"; Framed floated on a cream colored mat, white wood frame, and plexiglass; SOLD!
Untitled, 1973; Serigraph on paper; Stamp signed Kenneth Noland in blue ink upper right verso, Stamped © Copyright 1973 By Kenneth Noland Printed At Styria Studio in black ink lower left verso and numbered 102/300 in pencil lower left verso; Published by Experiments in Art and Technology, Inc.; Size - Sheet 9 x 12"; Unframed; SOLD!
Twin Planes, 1969; Signed, dated, and numbered '193/200 K. Noland 5/5/69' in ink (on the reverse support); Serigraph on canvas laminated to board; Published by Sarah Lawrence Art Press and Chiron Press, New York, with their inkstamps on the reverse; Size - Canvas 6¼ x 58¾", Frame 9 1/4 x 61 3/4"; Framed using a light white washed wood frame and a linen canvas liner; $15,000 or Pay Over Several Months!
After Bell, 1966; Artist - Kenneth Noland; A Gloria F. Ross Tapestry (carpet); Hooked (tufted) wool on canvas (sheared); Edition 5 plus 1 AP; only 2 known to exist and only one complete with the black splatter, bottom right; Catalog Raisonne: Hedlund #56, pg. 239; Size - 96" x 96; SOLD!
Untitled, 1987; Limited edition case back artwork on Omega Swiss quartz movement stainless steel watch; 1436 movement, ceramic case, sapphire crystal, and white 40 mm dial with time & date; Kenneth Noland printed signature & date verso with original protective artwork plastic cover; Numbered 126/999 on case back; Battery replaced 2/18/19; Black leather band; Framed with custom hinged black wood door w/UV conservation glass; Size - Frame: 17 1/4 x 8 3/4"; SOLD!
Untitled, 1973; Serigraph on paper; Stamp signed Kenneth Noland in blue ink, lower right, verso, stamped © Copyright 1973 By Kenneth Noland Printed At Styria Studio in black ink, lower left, verso and numbered 25/300 in pencil, lower left, verso; Framed using an acid free mat float, a natural wood exterior frame and conservation clear UV protective glass; Published by Experiments in Art and Technology, Inc.; Size - Sheet 9 x 12"; Frame 12 1/4 x 14 3/4"; SOLD!
Coach Tote Bag With Circle Painting 1977, 2002; Serigraph on canvas Coach bag; Stamp signed, dated, and numbered Kenneth Noland 1977, No. 303/500 lower left; Published by Coach Inc.; Size - Image 11 1/2" x 11 1/2"; Bag 15" x 15" x 1"; Frame 20 1/4" x 20 1/4"; Framed using an acid-free linen liner, a black wood fillet, and a black wood frame; SOLD!
Circle II, I-13, from Handmade Paper Project, 1978; Handmade paper composed of five layers of colored paper pulp with one monotype litho printing; Signed & dated Noland 78 in pencil bottom right; Annotated I-13 in pencil left verso; Published by Tyler Graphics, Ltd., Bedford, New York, with their blindstamp lower right; Andre Emmerich Gallery sticker on verso of frame; Size - 21 x 32", Frame 22 x 33"; Framed floated on a white mat, silver frame, & plexiglass.
"I knew what a circle could do. Both eyes focus on it. It stamps itself out, like a dot. This, in turn, causes one's vision to spread, as in a mandala in Tantric art." - Kenneth Noland
In October of 1952 Helen Frankenthaler, after a trip to Nova Scotia, had a breakthrough with a painting entitled "Mountains
and Sea." The painting was abstract and rather than painting the landscape that she saw on her trip, the work portrayed the experience itself. The abstract image was painted using a "soak stain" technique, whereby unprimed canvas duct is painted using oil paint that had been heavily thinned with turpentine. The effects of the technique reinforced the abstract nature of the landscape painting; and when the artists Kenneth Noland and Morris Louis saw it in her studio in New York, their own painting styles were forever changed.
On the train ride back to Washington DC, Noland and Louis realized that Frankenthaler's painting was their key to finding their own paths. Each made the decision to disregard all his own prior work and begin fresh. Noland stated, "We were interested in Pollock but could gain no lead from him. He was too personal. But Frankenthaler showed us a way - a way to think about and use color." Morris Louis found is structure for his color field paintings first with the unfurl series; and soon after Kenneth Noland found his, with the circle paintings. "I knew what a circle could do. Both eyes focus on it. It stamps itself out, like a dot. This, in turn, causes on's vision to spread, as in a mandala in Tantric art," Kenneth Noland.
The circle paintings in the 1960's were Noland's first color format; but would be followed over the years by chevrons, strips, plaids, and irregular paintin series. Noland would return to these early formats in the 1990's using opaque and bold acrylics, however the soak stain technique from the 1960's are by far his greatest achievement.
From Judith Goldman "Kenneth Noland Handmade Papers," 1978:
"From April to August 1978, Kenneth Noland made images out of paper at Tyler Graphics in Bedford, New York. Working with oriental and western fibers and bits of colored paper, he produced oer 200 images. The results were staggering. At first glance, many images seem quite like each other. But no two are the same. Colors vary from filmy blues and bright yellows to soft purples and murky greys. Textures range from wafer-thin oriental surfaces, thick as encrusted cardboard. In some pieces image prevail; in some, structure does. Paper-making is never the point, for Noland, it is a way to explore color and create texture."
The handmade paper works of art completed at Tyler Graphics fall into four categories. The Circle I Series were composed of three layers of colored pulp with three monotype litho printings. The sheet size was 20 x 16" oriented either vertical or horizontal. The Horizontal Stripes Series I-IV were varied by both size and the number of layers of colored pulp. The Diagonal Stripes Series were composed of eight layers of colored pulp. However, the greatest works of art created within the entire handmade paper project were the Circle II Series of artworks. These pieces were his larges circles, and it this format of color field painting that Kenneth Noland is most recognized. The Circle II Series were composed of five layers of colored pulp with one monotype litho printing. The sheet size was 32 x 21" oriented either vertical or horizontal.
This is an absolutely amazing Handmade Paper Circle Painting by Kenneth Noland! The inner circle is yellow, with outward circles of orange, red, pale red, and blue. The ground is a rich sea foam green, that further enhances the interactions of the color fields, overall composition, and balance. A wonderful addition to any art collection.
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