Frank Stella's Moby Dick Engravings, 1991is a series of seven etchings on white TGL handmade paper, each of which come from editions of varying sizes. The dominant motif in this series is a shape which resembles both a save and a whale that first appeared in the artist's The Waves. In these works, Stella masterfully conveys a sense of breaching whales and roiling waters.
The Museum of Solidarity, established by president Salvador Allende in 1971, had the mission of educating the people of Chile about fine art. Its collection was amassed through donations from many internationally known artists. One such donation was Frank Stella’s Isfahan III, which he created in 1968 and donated to the Museum of Solidary in 1972. Isfahan III—which measures more than 10 feet tall and 21 feet across—is part of Stella’s Protractor series, a series of irregularly shaped canvases each named after locations in the Middle East.
Frank Stella, Isfahan III (1968)
The work arrived in Chile and was exhibited for the first time in 1973. That same year, however, a military coup overthrew Allende’s government, forcing the museum to scatter its collection to a number of temporary storage locations.The majority of these works would remain in storage for years to come or go missing altogether. Isfahan III found its way to a storage facility belonging to the Museum of Contemporary Art in Santiago, where it would stay for almost two decades.
A photo from Ercilla magazine that shows Isfahan III on display in 1973.
In 1991, the Museum of Solidarity re-opened as the Salvador Allende Solidarity Museum and the process of recovering the donated works began. When Stella’s Isfahan III was discovered in the Museum of Contemporary Art’s storage facility, it was discovered that the canvas had spent years folded up and abandoned on the warehouse floor. Even worse, museum workers had been completely unaware of its importance and value. For decades, workers had been using the Stella masterpiece as a table for lunch breaks, eating on the painted surface. The canvas was creased and the painted surface was damaged. In addition, its frame and support structure were not saved, creating difficulty for its potential exhibition and conservation efforts.
Nonetheless, Isfahan III was the centerpiece of the Salvador Allende Solidarity Museum’s revival exhibition in 1991. The museum sent the artwork for minor restorations and it traveled to exhibitions around the world on a temporary stretcher. In 2019, the painting went under a second round of restorations through the Getty Foundation’s “Conserving Canvas” initiative, which would allow the painting to go through a year-long restoration process and for a new, permanent stretcher to be created for the work, increasing its longevity and continued travel all over the globe.
The new permanent stretcher for Isfahan III, which comes apart into three parts for easy travel.
Stella himself has remained close with the museum, visiting on multiple occasions and collaborating with a team to create an oral history project regarding the famous painting’s unique journey. In its current restored state, Isfahan III is one of the Salvador Allende Solidarity Museum’s collection highlights.
Isfahan III exhibited in 2017 at the Salvador Allende Solidarity Museum
Frank Stella Sale
Frank Stella is one of the greatest living American artists, playing an integral role in pushing the art world forward since his first exhibitions in the late 1950s. His quick rise to the top of the Abstract Expressionist movement and to great success was unprecedented, and his long-lasting career is a testament to the continued strength of his art practice even over a half-century later. This selection of available works from the 1980s and 1990s exemplifies the kind of innovative work that Stella is known for and his strength in a wide range of mediums, including lithograph, screen printing, silkscreen, etching, collage, and acrylic.
This Frank Stella Sale Online Exhibition features works from some of his most iconic series—including his Imaginary Places, Moby Dick (and the Waves series),Had Gadya, and Shards series—these works all exemplify Stella’s remarkable penchant for storytelling. This Frank Stella sale references other works of art (even his own) in these series, using them as a jumping-off point for inventing new ways of portraying movement and time, furthering the lifetime of the originating works of art as they live on through his interpretations of them. Taking inspiration from literature (in the case of Imaginary Places, Moby Dick, and Had Gadya) and from his own extensive career (the Shards series grew out of scraps from his earlier Circuits series), Stella puts his investment in the history of art and knowledge of all forms of art on display, situating these works firmly within a strong history of art appreciation. The works available from each of these series are not only prime examples of the power of these historic series, but epitomize Stella’s importance as an artist who artfully combines influences and mediums together to create something entirely new.
One of the trademarks of Stella’s career is his ability to play with space. At the point of his career, Stella’s interest in three-dimensionality came into full swing. This is beautifully represented by the works in this selection of available works. Multiple works involve Stella’s shapes pushing against the boundaries of the page, with cones and cylinders escaping beyond their pages’ rectangular confines in his collage, mixed media, and even in his print work. Breaking the traditional shape of those mediums allowed Stella to give shapes a life that existed off the page. Even when he adheres to the page’s confines, the artist’s carefully layered balance of geometric and abstract forms are playfully laid out, creating space for them to still transcend the two-dimensionality of the page and to illusionistically jump out at the viewer. The rhythm between free-moving forms, opaque coloring, and texture give these Stella works a truly unique vivacity.
The interplay between unrestrained possibilities of shape and color and careful composition has come to define Stella’s work, and these available Stella works are remarkable examples of Stella’s advancement in form. His works are at once stable and wavering, both overwhelming and controlled. The advancements that Stella pioneered are unparalleled, even today, making Frank Stella a one-of-a-kind artist and making this selection of works a wonderful addition to any art collection.
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Frank Stella, Moby Dick Engravings
Frank Stella created the Moby Dick Engravings series with the subject matter from Herman Melville's novel, Moby Dick.
From minimalism to maximalism, Frank Stella's prints and sculptures never fail to engage the viewer no matter how complex or simple they may seem. A master of composition, his graphic manipulations of geometry and his formal survey of abstraction make Frank Stella one of the foremost American artists of his lifetime.
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An American painter and printmaker, Frank Stella was an innovator. Born in 1936 in Malden, Massachusetts Frank Stella attended Princeton University, where he majored in history. It was during this time that he painted loose, gestural abstractions in the tradition of the New York School, but did not seriously entertain the idea of a career in the arts. With constant visits to New York however, a Jasper John’s exhibition changed his mind as he was impressed by the factuality of the work and the geometric patterns of the rings and stripes that formed the images. After graduating, Stella moved to New York where he took up painting seriously and it was after two accidental paintings that he found his success. Known as The Black Paintings they were penciled lines drawn on raw canvases where the open spaces were partially filled with black house-paint. It was from that time on that Stella consistently developed his increasingly complex variations on selected themes in a highly organized, cyclical manner that for many years allowed little room for spontaneity; one such famous example being Newstead Abbey (1960). Stella constantly challenged himself and his first radical shift came in 1966, with the Irregular Polygon series in which he employed interlocking geometric shapes that were bordered by the familiar bands. It was around this time as well that he created his first abstract prints in lithography, screenprinting, etching and offset lithography which had a strong impact upon printmaking as an art and is a medium of which he became an acknowledged master. During the following decade, Stella introduced relief into his art, which he came to call “maximalist” painting for its sculptural qualities. From the mid-1980’s to the mid-1990’s, Stella created a large body of work that responded in a general way to Herman Melville’s Moby Dick. During this time, the increasingly deep relief of Stella’s paintings gave way to full three-dimensionality, with sculptural forms derived from cones, pillars, French curves, waves, and decorative architectural elements. To create these works, the artist used collages or maquettes that were then enlarged and re-created with the aid of assistants, industrial metal cutters, and digital technologies.
In the 1990’s, Stella began making freestanding sculptures for public spaces and developing architectural projects. Still residing in New York today with his many accolades, Frank Stella prints and paintings are most famous for his work in the areas of minimalism and post-painterly abstraction.
FRANK STELLA PAINTINGS
Frank Stella’s artistic range is incredible, spanning from the monochromatic Black Paintings to multi-colored mixed media works. Between 1958 and 1965, Stella experimented mainly with abstract painting. One example are the Black Paintings which he created in the late 1950s. Black Paintings consisted of bands of black paint being carefully separated by thin, white lines. In every way, these paintings are a rebellion against the expressive colors popularized by abstract expressionism. In the year following the Black Paintings, Stella decided to produce paintings with aluminium as his base material. The Aluminum Paintings retain the thin stripes of their counterparts, yet appear more fragile due to the material. The result is a geometric illusion in which lines and planes seem to unfold infinitely on the aluminum canvas. The painting blurs the line between art object and an industrial metal.
In the mid-1960s, Stella departed from his stark, minimalist works to create the Irregular Polygon paintings. Stella’s Irregular Polygons are large, asymmetrical canvases composed of bold lines and colorful geometric forms. Their visual impact is dramatic yet minimal, foreshadowing Stella’s eventual fascination with geometry, colorful abstraction and the shaped canvas. In 2015, Stella’s painting Delware Crossing, 1961 fetched $13.7 million at Sotheby’s, setting an auction record for Stella.
FRANK STELLA PRINTS
After establishing himself as a painter, Frank Stella began making prints in 1967. Stella initially worked mainly with lithography, though screen prints and intaglio prints have also shaped his artistic development. His prints are a continuation of the aesthetic he brought to his paintings. Like his paintings, Stella’s prints were also created in series. As such, the prints also corresponded to the imagery found in his paintings.
This connection between the two mediums is intentional. Stella explains “ What I like in the paintings I try to get in the prints. And then, what I like in the prints I try to get in the paintings. It works both ways.” A comprehensive survey of Stella’s prints can be found in the catalogue raisonne The Prints of Frank Stella: A Catalogue Raisonné 1967-1982 by Richard H. Axsom.
FRANK STELLA LITHOGRAPHS
In 1967, Frank Stella partnered with Kenneth Tyler, the owner of Gemini G.E.L. to work on his first lithographs, Star of Persia I and Star of Persia II. During this time, Stella also made a series of lithographic drawings which reexamined his Black Paintings.
Stella assembled these lithographic drawings into an album to create an intimate look at his earlier work. This album project encompassed 9 lithographic series (63 prints) and the lithographs are remarkable for their hand-drawn geometric symmetry and commitment to pure form. He is also credited with inventing offset lithography. Stella’s immediate success in printmaking was honored in 1970 with his first print retrospective Frank Stella: Prinzip Seriell, Grafik 1967-1970 at the Kunstmuseum in Dusseldorf, Germany.
FRANK STELLA COLLAGES
Frank Stella began began executing collage works in 1970, the same year in which the Museum of Modern Art in New York gave him a solo retrospective. The first series in collage was Stella’s Polish Village Series (1970-73) which was made with Stella’s desire to bring three-dimensionality and form-building to his works. These 130 large-scale constructions feature angles and lines which intersect and weave into one another.The collage was made of paper and felt pasted onto the canvas, seamlessly turning into a low-relief sculpture.
Stella continued to expand with the Exotic Bird collage sculptures from the late 1970s which layered aluminum shapes that were also smeared with color. In 1984, Stella created the Illustrations after El Lissitzky’s ‘Had Gadya’ series, a blend of hand colouring collaged with lithographic, linoleum block and silkscreen prints. Many of these collage works were recently featured in Frank Stella:A Retrospective at the Whitney Museum. This marks Stella as the first artist to exhibit in the museum’s new building.
FRANK STELLA SCREENPRINTS
The flat, opaque coloring from screenprinting proves to be a perfect medium for Stella’s geometric style. Almost all of his screenprints were created in the early 1970s with the collaboration of the Gemini G.E.L. studio. A smaller body of work than the lithographs, Stella’s screenprints are easily recognized for their sumptuous colors and luxuriant texture.
The artist was fascinated with screen printing for several reasons. For one, screenprinting allowed him to add varied color resolution to his images. Additionally, through this medium he was able to explore the decorative possibilities of unrestrained color. It is during this time he coined the term “maximialist”painting to describe his style. An important work from this medium is the Race Track Series, 1972. Currently, many of his screenprints are held within the permanent collection of the Museum of Modern Art in New York.
FRANK STELLA MIXED MEDIA
From the late 1970s to early 1980s Stella dedicated his attention to mixed media works at a grand scale. In every way, this period of his career represents Stella’s full plunge into three-dimensional works. To create these works, the artist used collages that were enlarged with the help of assistants and industrial metal cutters. Made with enamel paint, etched magnesium, aluminum and fiberglass, La scienza della pigrizia (The Science of Laziness), 1984 epitomizes works from this period. Stella’s mixed-media works were immediately well-received.
In 1981, a Christie’s auction sold Stella’s Laysan Millerbird, 1977, a wall relief of oil, sand and oil sticks on metal, to a private collector for $180,000. It was a groundbreaking sale considering the work had been completed only 4 years prior.
