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Café Table (dispensers)
1964
(from Delights)
Etching on BFK Rives paper
Signed, titled and dated in pencil, annotated “AP” (artist proof)
12 7/8 x 10 ¾ in (35 x 27.3 cm), unframed
Edition of 100 + AP
INQUIRE
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Cut Melon *
1964
Etching on wove paper
Signed, titled, dated and inscribed "AP" (artist proof)
10 3/4 x 15 in. (27.3 x 38.1 cm.)
Edition of 15 + AP
SOLD
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Delicatessen Trays
1965
Etching with aquatint on wove paper
Signed and dated in pencil, inscribed 'A.P.' (artist's proof)
10 x 10 in. (25.4 x 25.4 cm.), unframed
Edition of 10 + AP
INQUIRE
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Gumball Machine *
2017
Original color etching
Signed in pencil, and numbered
18 x 13 in. (45.7 x 33 cm), unframed
Edition of 30
SOLD
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Lipstick Row *
1970
(from Seven Still Lifes and a Rabbit)
Original screenprint in colors on arches paper
Signed in pencil, and numbered
22 1/2 x 30 in (57.2 x 76.2 cm), unframed
Edition of 50
SOLD
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River Delta and Farms *
2002
Woodcut on wove paper
Signed in pencil, inscribed 'T.P.' (a trial proof)
11 x 13 in. (27.9 x 33 cm.)
Unique work on paper
SOLD
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Suckers
1964
(from Delights)
Aquatint on BFK Rives Paper
Signed, titled and dated in pencil, annotated "AP" (artist proof)
4 7/8 x 4 7/8 in. (12.4 x 12.4 cm), image
12 7/8 x 10 3/4 in. (35 x 27.3 cm), paper, unframed
Edition of 100 + AP
INQUIRE
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Invisible Cities *
1999
Folio with 12 drawings printed on clear Mylar sheets
Aluminum binding, sheets on 4 u-posts, title printed on lid
14 ¼ x 13 ¼ in. (36.2 x 33.7 cm)
Edition of 400
(With frontispiece hand-signed by the artist on the backing sheet, the edition numbered)
SOLD
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City Edge *
1988
Aquatint in colors on Wove paper
Signed by the artist in pencil, dated and numbered
19 ⅝ x 15 ⅞ inches (50 x 43 cm)
Edition of 60
SOLD
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Tide Figures *
2006
Color drypoint with etching on Gampi paper
Signed in pencil and numbered
39 ½ x 30 ½ inches (100.3 x 77.5 cm)
Edition of 40
SOLD
-
Cakes and Pies *
2006
Color direct gravure
Signed by the artist in pencil and numbered
30 x 25 ½ inches (76.2 x 64.8 cm)
Edition of 40
SOLD
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Cherries *
1984
Aquatint with drypoint
Signed by the artist in pencil and numbered
15 ¾ x 18 ¾ inches (40 x 47.6 cm)
Edition of 25
SOLD
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Sketches *
1995
Hard-ground etching in colors
Signed by the artist in pencil and numbered
21 ¾ x 30 inches (55.2 x 76.2 cm)
Edition of 50
SOLD
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Neighborhood Ridge *
1984
Etching with aquatint and drypoint
Signed by the artist in pencil and numbered
23 x 18 inches (58.4 x 45.7 cm)
Edition of 50
SOLD
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Candy Counter *
1970
Linocut
Signed by the artist and numbered
22 ½ x 30 inches (57.2 x 76.2 cm)
Edition of 50
SOLD
-
Dark Cupcakes and Donuts *
2006
Direct gravure on Gampi paper
Signed by the artist in pencil, and numbered
26 x 31 inches (66 x 78.7 cm)
Edition of 30
SOLD
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Lunch *
1964
Etching on Rives BFK paper
Signed by the artist in pencil, and titled and dated
12 7/8 x 11 inches (32.7 x 28 cm)
Edition of 100
SOLD
-
Cigars *
1979
Etching in colors on Somerset paper
Signed by the artist in pencil, and dated and numbered
22 ¾ x 29 ½ inches (57.8 x 74 cm)
Edition of 50
SOLD
-
Triangle Thins *
1970
Five-color aquatint
30 x 22 in
Edition of 50
SOLD
-
Six Italian Desserts *
1979
Color etching
Signed and numbered
23 x 30 inches
Edition of 50
SOLD
-
Rose *
1979
Color etching
Signed and numbered
30 x 23 inches
Edition of 50
SOLD
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Gumball Machine *
1971
Linocut
Signed Trial Proof
30 1/4 x 22 1/4 inches
Unique
SOLD
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Down 18th *
1979
Etching
Signed and numbered
30 x 22 1/2 inches
Edition of 50
SOLD
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Cherry Cakes *
1979
Color etching
Signed and numbered
30 x 22 1/2
Edition of 50
SOLD
Wayne Thiebaud (b. 1920–) is a Californian painter who is best known for his iconic still lifes of all-American foods and products, such as cakes, pies, sandwiches, cosmetics, and toys. Born in Arizona, Thiebaud moved to California in his youth. A student of commercial art, he spent several years as a professional cartoonist at the Walt Disney Studios and elsewhere before moving on to teach art. Thiebaud’s knowledge of and respect for commercial illustration greatly informed his subsequent work, which is marked by its formal geometric order and clearly defined forms. After briefly working in the dominant abstract expressionist style, Thiebaud settled on realism as his primary mode of expression in the mid-1950s.
Although he has been frequently associated with Pop Art due to his choice of subject matter, Thiebaud does not consider himself a Pop artist, nor does he align himself with the Bay Area figurative movement. His painting does not critique American culture so much as celebrate it, and his brushwork is more individual and expressive than the flat, mechanized style favored by Pop artists such as Andy Warhol and James Rosenquist. Thiebaud himself disavows an allegiance to any style, preferring to concentrate on the discipline of painting and his formal concerns. This focus places him in context with earlier painters he admires, including the 18th-century French painter Chardin, Giorgio Morandi, and Edward Hopper.
Wayne Thiebaud is a recipient of the National Medal of Arts and a member of the American Academy and Institute of Arts and Letters. In 2001, he was honored with a retrospective and monograph organized by the Fine Arts Museums of San Francisco’s Legion of Honor. The show to traveled to the Whitney Museum of American Art, New York City, The Phillips Collection, Washington, D.C, and the Modern Art Museum of Fort Worth, Texas. His work is held by major museums in the United States and abroad.
Thiebaud, Wayne
1964 Etching on wove paper Signed, titled, dated and inscribed "AP" (artist proof) 10 3/4 x 15 in. (27.3 x 38.1 cm.) Edition of 15 + AP SOLD2017 Original color etching Signed in pencil, and numbered 18 x 13 in. (45.7 x 33 cm), unframed Edition of 30 SOLD1970 (from Seven Still Lifes and a Rabbit) Original screenprint in colors on arches paper Signed in pencil, and numbered 22 1/2 x 30 in (57.2 x 76.2 cm), unframed Edition of 50 SOLD2002 Woodcut on wove paper Signed in pencil, inscribed 'T.P.' (a trial proof) 11 x 13 in. (27.9 x 33 cm.) Unique work on paper SOLD1999 Folio with 12 drawings printed on clear Mylar sheets Aluminum binding, sheets on 4 u-posts, title printed on lid 14 ¼ x 13 ¼ in. (36.2 x 33.7 cm) Edition of 400 (With frontispiece hand-signed by the artist on the backing sheet, the edition numbered) SOLD1988 Aquatint in colors on Wove paper Signed by the artist in pencil, dated and numbered 19 ⅝ x 15 ⅞ inches (50 x 43 cm) Edition of 60 SOLD2006 Color drypoint with etching on Gampi paper Signed in pencil and numbered 39 ½ x 30 ½ inches (100.3 x 77.5 cm) Edition of 40 SOLD2006 Color direct gravure Signed by the artist in pencil and numbered 30 x 25 ½ inches (76.2 x 64.8 cm) Edition of 40 SOLD1984 Aquatint with drypoint Signed by the artist in pencil and numbered 15 ¾ x 18 ¾ inches (40 x 47.6 cm) Edition of 25 SOLD1995 Hard-ground etching in colors Signed by the artist in pencil and numbered 21 ¾ x 30 inches (55.2 x 76.2 cm) Edition of 50 SOLD1984 Etching with aquatint and drypoint Signed by the artist in pencil and numbered 23 x 18 inches (58.4 x 45.7 cm) Edition of 50 SOLD1970 Linocut Signed by the artist and numbered 22 ½ x 30 inches (57.2 x 76.2 cm) Edition of 50 SOLD2006 Direct gravure on Gampi paper Signed by the artist in pencil, and numbered 26 x 31 inches (66 x 78.7 cm) Edition of 30 SOLD1964 Etching on Rives BFK paper Signed by the artist in pencil, and titled and dated 12 7/8 x 11 inches (32.7 x 28 cm) Edition of 100 SOLD1979 Etching in colors on Somerset paper Signed by the artist in pencil, and dated and numbered 22 ¾ x 29 ½ inches (57.8 x 74 cm) Edition of 50 SOLD1970 Five-color aquatint 30 x 22 in Edition of 50 SOLD1979 Color etching Signed and numbered 23 x 30 inches Edition of 50 SOLD1979 Color etching Signed and numbered 30 x 23 inches Edition of 50 SOLD1971 Linocut Signed Trial Proof 30 1/4 x 22 1/4 inches Unique SOLD1979 Etching Signed and numbered 30 x 22 1/2 inches Edition of 50 SOLD1979 Color etching Signed and numbered 30 x 22 1/2 Edition of 50 SOLDAlthough he has been frequently associated with Pop Art due to his choice of subject matter, Thiebaud does not consider himself a Pop artist, nor does he align himself with the Bay Area figurative movement. His painting does not critique American culture so much as celebrate it, and his brushwork is more individual and expressive than the flat, mechanized style favored by Pop artists such as Andy Warhol and James Rosenquist. Thiebaud himself disavows an allegiance to any style, preferring to concentrate on the discipline of painting and his formal concerns. This focus places him in context with earlier painters he admires, including the 18th-century French painter Chardin, Giorgio Morandi, and Edward Hopper.
Wayne Thiebaud is a recipient of the National Medal of Arts and a member of the American Academy and Institute of Arts and Letters. In 2001, he was honored with a retrospective and monograph organized by the Fine Arts Museums of San Francisco’s Legion of Honor. The show to traveled to the Whitney Museum of American Art, New York City, The Phillips Collection, Washington, D.C, and the Modern Art Museum of Fort Worth, Texas. His work is held by major museums in the United States and abroad.