Stuart Davis: untitled screenprint from the Wadsworth Atheneum Portfolio 'Ten Works Ten Painters' 1964

abstract pattern in black, red, green and yellow ochre- hard edge but cross between geometric and organic shapes of colour. Toward lower left on black ground are squiggled white lines that resemble writing, and again towards right of centre at lower margin are more squiggled lines - this time in white on ochre ground. Colours unevenly distributed over picture space but predominantly: ochre yellow at bottom right; black at upper right; red at top right; yellow ochre and green at centre; black at top left; red at centre left; black at bottom left; green at centre on lower margin.

382/500

Given by Kasmin Ltd.

Suite originally housed in a cream cloth-covered portfolio box with cream and white paper lining. On front X / + / X in blue and white and in blue on spine ‘TEN WORKS BY TEN PAINTERS THE WADSWORTH ATHENEUM’ Container is unnumbered and housed elsewhere, currently (2011) at the back of '1st Mezz' in the National Art Library. Inside the container still remains four pages (description and transcript below):
Title-page: vertically in black ‘X / + [cut out] / X / [and horizontally through the same +] TEN WORKS [+] TEN PAINTERS / THE WADSWORTH ATHENEUM’
Title-page verso of title-page: ‘Copyright 1964, The Wadsworth Atheneum, Hartford, Connecticut 67/500 [edition number in pen] / Designed and Produced by Ives-Sillman, New Haven, Connecticut’
Page 2: in caps a list of names: ‘GEORGE ORTMAN / FRANK STELLA / ELLSWORTH KELLY / ROBERT MOTHERWELL / ANDY WARHOL / STUART DAVIS / ROY LICHTENSTEIN / LARRY POONS / ROBERT INDIANA / AD REINHARDT’
Page 3: ‘This portfolio was commissioned and printed in an attempt to extend / as much of the visual impact as pssible of ten artists to paper and / to make the prints available to collectors who might not otherwise / have such a vivid slice of the artist. / The dry surface of screening seemed to be most apt to translate the / effect of their painting, both the flatness which is the unifying bond / between the ten, and the insistence of paint on the surface of canvas / so like the visible heft of ink on paper here. / Samuel J. Wagstaff, Jr. Curator of Paintings’ [followed by a list of sponsors]
Dims. of container: 65 x 53.5 x 2.5cm.
Condition note: Spillages and staining all over container especially front cover.

The work was printed by Sirocco, under supervision of Ives Stillman.

Stuart Davis was one of the most influential artists of his generation on his fellow Americans. His particular brand of abstraction was rooted in Cubism but also derived much from daily objects he found around him, such as packaging and advertising. His characteristically colourful, hard-edge paintings suggest rather than depict contemporary American life. He frequently introduced lettering or numbers into his compositions and the rhythms of jazz inspired the dynamic patterns in the work. His impact was most strongly felt on the up-coming generation of abstract expressionists and pop artists.

CIRC.128-1969