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Composition in Black, Grey and Yellow *
1990
Original lithograph in colors
Signed by the artist in pencil and numbered
30 x 22 inches (76.2 x 55.9 cm)
Edition of 125
SOLD
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Flower II *
1981
(from The Bedford Series)
Original lithograph in two colors on Arches wove paper
Signed by the artist in pencil, and numbered
42 5/8 x 32 1/2 in. (108.3 x 82.6 cm.)
Edition of 70
Printed by Tyler Graphics, Mt. Kisco, NY with their blind stamp
Illustrated in Martin Friedman, ed. Tyler Graphics: The Extended Image (Minneapolis: Walker Art Center, 1987), p. 76.
SOLD
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Little Tree *
1992
Original lithograph in colors on wove paper
6 3/8 x 5 in. (16 x 12.5 cm), unframed
From the unsigned edition 1000
Printed by Tyler Graphics, Mt. Kisco, NY
(created in remembrance of the artist at her death by Kenneth Tyler)
(In the permanent collection of The Museum of Fine Arts, Houston, TX)
SOLD
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Little Weeds I *
1992
Original etchings with aquatint in colors on three sheets of Rives BFK paper
Signed in pencil, dated and numbered
9 1/4 x 22 in. (23.5 x 56 cm), unframed
Edition of 30 + 8 AP
Published by Tyler Graphics, Mt. Kisco, NY
SOLD
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Sunflower VI *
1972
Color etching
Signed by the artist in pencil, and numbered
35 ½ x 25 inches (90.2 x 63.5 cm)
Edition of 75 + proofs (EA)
(Printed by Arte Adrien Maeght, Paris; published by Maeght Editeur, Paris)
SOLD
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Tree I *
1990
Original lithograph in colors
Signed in pencil, and numbered
22 1/4 x 19 1/2 in (56.5 x 49.5 cm), unframed
Edition of 94
SOLD
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Trees (red) *
1991
Original lithograph on Arches vellum in colors
Signed by the artist in pencil and numbered
30 x 22 inches (76.2 x 56 cm), unframed
Edition of 125
SOLD
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Trees (yellow) *
1991
Original lithograph on Arches vellum in colors
Signed by the artist in pencil and numbered
30 x 22 inches (76.2 x 56 cm), unframed
Edition of 125
SOLD
Joan Mitchell was born in Chicago, Illinois in 1925 and died in a Paris suburb in 1992. Her expatriate years began in the late 1950s and continued uninterrupted until her passing in Vetheuil, France. She occupied a celebrated stature in the generation that succeeded Pollock and Rothko. She declined the theoreticism of her European counterparts, and remained throughout her career the empirical American, personally accountable for her memories and emotions. Her work is characterized in many developments from the 1950s to the early 90s shortly prior to her passing. She usually worked on multiple panels or large scale canvases – striving to attract a natural rather than constructed rhythm from the composition, a rhythm emanating from the expansiveness of the gesture or from the unrestrained use of color and the pervasive luminosity. The titles of her last paintings suggest the abstract valleys and empirical fields of her beloved French countryside.
In speaking of Mitchell, others tell us of her physical materiality – how she exudes the visual sentiments of nature – the objectivity of her painting, devoid of anecdote or theater and in her own words “to convey the feeling of the dying sunflower.” Joan Mitchell as an abstract expressionist composes with long curvilinear strokes or broad stains of color, contrasting warm and cool, often on unprimed canvases. Her perceptions enrich her work with a fascinating sense of the unfinished. Joan Mitchell demonstrated in painting just as in life, anything can happen.
Mitchell, Joan
1990 Original lithograph in colors Signed by the artist in pencil and numbered 30 x 22 inches (76.2 x 55.9 cm) Edition of 125 SOLD
1981 (from The Bedford Series) Original lithograph in two colors on Arches wove paper Signed by the artist in pencil, and numbered 42 5/8 x 32 1/2 in. (108.3 x 82.6 cm.) Edition of 70 Printed by Tyler Graphics, Mt. Kisco, NY with their blind stamp Illustrated in Martin Friedman, ed. Tyler Graphics: The Extended Image (Minneapolis: Walker Art Center, 1987), p. 76. SOLD
1992 Original lithograph in colors on wove paper 6 3/8 x 5 in. (16 x 12.5 cm), unframed From the unsigned edition 1000 Printed by Tyler Graphics, Mt. Kisco, NY (created in remembrance of the artist at her death by Kenneth Tyler) (In the permanent collection of The Museum of Fine Arts, Houston, TX) SOLD
1992 Original etchings with aquatint in colors on three sheets of Rives BFK paper Signed in pencil, dated and numbered 9 1/4 x 22 in. (23.5 x 56 cm), unframed Edition of 30 + 8 AP Published by Tyler Graphics, Mt. Kisco, NY SOLD
1972 Color etching Signed by the artist in pencil, and numbered 35 ½ x 25 inches (90.2 x 63.5 cm) Edition of 75 + proofs (EA) (Printed by Arte Adrien Maeght, Paris; published by Maeght Editeur, Paris) SOLD
1990 Original lithograph in colors Signed in pencil, and numbered 22 1/4 x 19 1/2 in (56.5 x 49.5 cm), unframed Edition of 94 SOLD
1991 Original lithograph on Arches vellum in colors Signed by the artist in pencil and numbered 30 x 22 inches (76.2 x 56 cm), unframed Edition of 125 SOLD
1991 Original lithograph on Arches vellum in colors Signed by the artist in pencil and numbered 30 x 22 inches (76.2 x 56 cm), unframed Edition of 125 SOLD
In speaking of Mitchell, others tell us of her physical materiality – how she exudes the visual sentiments of nature – the objectivity of her painting, devoid of anecdote or theater and in her own words “to convey the feeling of the dying sunflower.” Joan Mitchell as an abstract expressionist composes with long curvilinear strokes or broad stains of color, contrasting warm and cool, often on unprimed canvases. Her perceptions enrich her work with a fascinating sense of the unfinished. Joan Mitchell demonstrated in painting just as in life, anything can happen.