-
Attic Series I: I *
1991
Aquatint
32 x 36 in
Edition of 60
SOLD
-
Attic Series I: II *
1991
Aquatint
32 x 36 in
Edition of 60
SOLD
-
Attic Series I: V *
1991
Aquatint
Signed and numbered
32 x 36 in
Edition of 60
SOLD
-
Attic Series II: VII *
1991
Original color aquatint with etching
Signed in pencil, titled and numbered
32 x 36 in. (81.3 x 91.4 cm), unframed
Edition of 60
SOLD
-
Attic Series II: VIII *
1991
Aquatint
Signed and numbered
32 x 36 in
Edition of 60
SOLD
-
Attic Series II: X *
1991
Aquatint
Signed and numbered
32 x 36 in
Edition of 60
SOLD
-
Mangold, Attic Series I, III *
SOLD
-
Untitled
2000
Woodcut and screenprint in colors on tissue thin paper
Monogrammed in pencil, and dated
6 1/4 x 10 in. (16 x 25.4 cm), unframed
From the edition of unknown size as issued
Printed and published by the artist in his studio
INQUIRE
-
Untitled (from the Couples portfolio) *
1996
Etching in colors
Signed by the artist in pencil, and numbered
18 x 12 inches (45.7 x 30.5 cm)
Edition of 75
SOLD
-
Untitled *
Untitled
1990
Lithograph in colors
Signed by the artist in pencil, dated and numbered
28 ¼ x 22 ¼ inches (71.6 x 56.4 cm)
Edition of 40
SOLD
-
Untitled A, C, E, G *
2000
Four individual original woodcuts on Korean Kozo paper
Each hand-signed in pencil, and annotated
8 x 10 in. (20.3 x 25.4 cm9, unframed, each
Edition of 250
SOLD
Robert Mangold was born in 1937 and spent his youth in Buffalo, New York. In 1956 he enrolled in the illustration department of the Cleveland Institute of Art. Within a year, he had transferred to the fine-arts division of the school in order to pursue an education in painting, sculpture, and drawing. After graduating in 1959, he was awarded a fellowship to attend the Yale Summer School of Music and Art, Norfolk, Connecticut, and in the fall of 1960 he entered the graduate program at the Yale University School of Art and Architecture, New Haven. There, he experimented with a variety of stylistic idioms. By 1964 Mangold had moved into his signature Minimalist painting style. His first solo exhibition, entitled Walls and Areas, was held at the Fischbach Gallery in 1965. In 1965–66, the Jewish Museum, New York, mounted the first major exhibition of Minimalist painting, which included Mangold’s work. Mangold became an instructor in the fine-arts department of the School of Visual Arts, New York, in the mid-1960s.
In 1968 Mangold began employing acrylic instead of oil paint, rolling rather than spraying it on masonite or plywood grounds. Within the year, he moved from these more industrially oriented supports to canvas. He received a fellowship from the John Simon Guggenheim Memorial Foundation in 1969. Major museum exhibitions of his work have been held at the Solomon R. Guggenheim Museum in New York (1971), the Museum of Contemporary Art in San Diego (1974), the Stedelijk Museum in Amsterdam (1982), Hallen für Neue Kunst in Schaffhausen (1993), and Musée D’Orsay in Paris (2006). His recent series—which utilize elemental forms like the column and ring and employ his characteristic economy of color, gesture and shape—are featured frequently at PaceWildenstein in New York, as well as other international galleries.
Mangold, Robert
1991 Aquatint 32 x 36 in Edition of 60 SOLD
1991 Aquatint 32 x 36 in Edition of 60 SOLD
1991 Aquatint Signed and numbered 32 x 36 in Edition of 60 SOLD
1991 Original color aquatint with etching Signed in pencil, titled and numbered 32 x 36 in. (81.3 x 91.4 cm), unframed Edition of 60 SOLD
1991 Aquatint Signed and numbered 32 x 36 in Edition of 60 SOLD
1991 Aquatint Signed and numbered 32 x 36 in Edition of 60 SOLD
SOLD
1996 Etching in colors Signed by the artist in pencil, and numbered 18 x 12 inches (45.7 x 30.5 cm) Edition of 75 SOLD
Untitled 1990 Lithograph in colors Signed by the artist in pencil, dated and numbered 28 ¼ x 22 ¼ inches (71.6 x 56.4 cm) Edition of 40 SOLD
2000 Four individual original woodcuts on Korean Kozo paper Each hand-signed in pencil, and annotated 8 x 10 in. (20.3 x 25.4 cm9, unframed, each Edition of 250 SOLD
In 1968 Mangold began employing acrylic instead of oil paint, rolling rather than spraying it on masonite or plywood grounds. Within the year, he moved from these more industrially oriented supports to canvas. He received a fellowship from the John Simon Guggenheim Memorial Foundation in 1969. Major museum exhibitions of his work have been held at the Solomon R. Guggenheim Museum in New York (1971), the Museum of Contemporary Art in San Diego (1974), the Stedelijk Museum in Amsterdam (1982), Hallen für Neue Kunst in Schaffhausen (1993), and Musée D’Orsay in Paris (2006). His recent series—which utilize elemental forms like the column and ring and employ his characteristic economy of color, gesture and shape—are featured frequently at PaceWildenstein in New York, as well as other international galleries.