Items Similar to 'The Orange Point' — Mid-Century Modernism
Want more images or videos?
Request additional images or videos from the seller
1 of 3
Thomas A. Robertson'The Orange Point' — Mid-Century Modernismc. 1940
c. 1940
About the Item
'The Orange Point', color serigraph, edition 54, c. 1940. Signed, titled, and annotated 'Ed/54' in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet with wide margins (1 5/8 to 2 3/8 inches), in excellent condition. Printed in seven colors from as many screens, each prepared by drawing with a litho crayon on a textured surface. The lightest areas of the image are printed to appear lighter than the paper color. Matted to museum standards, unframed.
Thomas Robertson's 'The Orange Point' was exhibited at the 15th annual New Orleans Art League membership exhibition, in 1941; and at 'Serigraphy: The Rise of Screenprinting in America,' Zimmerli Art Museum, 2017-2018. The work is featured with a full-page illustration in David Acton's seminal book on American printmaking, 'A Spectrum of Innovation: Color in American Printmaking 1890-1960', Worcester Art Museum, 1990, pp.148-9.
Impressions of this work are in the permanent collections of the Indianapolis Museum of Art, Smithsonian American Art Museum, and Zimmerli Art Museum (Rutgers).
ABOUT THE ARTIST
Tom Robertson (1911-1976) was born in Little Rock, Arkansas. Initially, a painter known for his stylized portraits in the 1930s, his work evolved into non-objective imagery in the 1940s. Inspired by Native American art, Robertson derived the arcs, floating circles, serpentine slashes, and meandering lines of his modernist compositions from the graphic motifs of the ancient Caddoan Indians of southwestern Arkansas.
Robertson studied serigraphy in New Orleans in the '30s and began to concentrate on printmaking after he returned to Little Rock around 1940, producing a remarkable oeuvre of screenprints—independent and uniquely expressive works that shared the themes of his watercolor and gouache abstractions.
His first screenprint, 'Union,' was included in his second solo exhibition at the Delgado Museum. Several of his serigraphs were shown in the fifteenth annual membership exhibition of the New Orleans Art League late in 1941. In 1945 a show of Robertson's serigraphs with twenty of his nonobjective watercolors was mounted in a one-person exhibition at the Addison Gallery in Andover, Massachusetts.
- Creator:Thomas A. Robertson (1911 - 1976)
- Creation Year:c. 1940
- Dimensions:Height: 10.5 in (26.67 cm)Width: 7 in (17.78 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Myrtle Beach, SC
- Reference Number:
About the Seller
5.0
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 1995
1stDibs seller since 2016
259 sales on 1stDibs
Typical response time: 1 hour
Associations
International Fine Print Dealers Association
- ShippingRetrieving quote...Ships From: Myrtle Beach, SC
- Return PolicyA return for this item may be initiated within 7 days of delivery.
More From This SellerView All
- 'African Idol' — 1930s American ModernismBy Robert Vale FaroLocated in Myrtle Beach, SCRobert Vale Faro, untitled (African Idol), serigraph, c. 1940, edition 6. Signed in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet with margins(5/8 to 1 3/8 inches), in excellent condition. Very rare. Matted to museum standards, unframed. Image size 8 3/4 x 6 inches (222 x 152 mm); sheet size 11 x 7 1/2 inches (279 x 192 mm). ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller, and Anne Ryan as New York members and Francine...Category
1940s American Modern Abstract Prints
MaterialsScreen
- 'Equus Uirumpu' — Mid-century ModernismBy James Houston McConnellLocated in Myrtle Beach, SCJames Houston McConnell, 'Equus Uirumpu' (The Man's Horse), color serigraph, c. 1945, edition not stated but small. Signed and titled in pencil. Initialed in the image, lower right. ...Category
1940s American Modern Abstract Prints
MaterialsScreen
- 'River View' — 1940s American ModernismBy Edward August LandonLocated in Myrtle Beach, SCEdward Landon 'River View, color serigraph, 1942, edition 50, Ryan 159. Signed in pencil in the image, lower right. Titled, dated, and annotated '9 COLORS – 50 PRINTS' in the screen,...Category
1940s American Modern Abstract Prints
MaterialsScreen
- Time Silhouette —Mid-Century ModernBy Edward August LandonLocated in Myrtle Beach, SCEdward Landon, 'Time Silhouette', color serigraph, 1969, edition 30, Ryan 201. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, on cream wo...Category
Mid-20th Century American Modern Abstract Prints
MaterialsScreen
- 'Flyable Objects Identified' —Mid-Century ModernBy Edward August LandonLocated in Myrtle Beach, SCEdward Landon, 'Flyable Objects Identified', color serigraph, 1969, edition 30, Ryan 83. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, o...Category
Mid-20th Century American Modern Abstract Prints
MaterialsScreen
- 'Salient in February' — Mid-Century AbstractionBy Edward August LandonLocated in Myrtle Beach, SCEdward Landon, 'Salient in February', color serigraph, 1945, edition 25, Ryan 166. Signed in pencil. Titled, dated, and annotated 'ED. 40' in pencil. A fine impression, with fresh colors, on cream, wove paper; with full margins (1 3/4 to 2 5/8 inches, top sheet edge deckle); in excellent condition. Image size 9 x 11 inches; sheet size 12 3/4 x 16 inches. Matted to museum standards, unframed. ABOUT THE ARTIST Born in Hartford, Connecticut, Edward Landon dropped out of high school to study art at the Hartford Art School. In 1930 and 1931, he was a student of Jean Charlot at the Art Students League in New York, after which he traveled to Mexico to study privately for a year with Carlos Merida. In 1933 he settled near Springfield, Massachusetts, painted murals in the local trade school, and exhibited with the Springfield Art League. His painting 'Memorial Day' won first prize at the fifteenth annual exhibition of the League at the Springfield Museum of Fine Arts. Landon became an active member of the Artists Union of Western Massachusetts, serving as president from 1934-1938. Landon acquired Anthony Velonis’s instructional pamphlet on the technique of serigraphy in the late 1930s. With colleagues Phillip Hicken, Donald Reichert, and Pauline Stiriss, he began experimenting with screen printing techniques. The artists' groundbreaking work in screen printing as a fine art medium was the subject of the group’s landmark exhibition at the Springfield Museum of Fine Arts in 1940. Landon became one of the founding members of the National Serigraph Society and served as editor of its publication, 'Serigraph Quarterly,' in the late 1940s and as its president in 1952 and 1953. The Norlyst Gallery in Manhattan held a one-person show of his prints in 1945. Awarded a Fulbright Fellowship in 1950, Landon traveled to Norway, where he researched the history of local artistic traditions and produced the book 'Scandinavian Design: Picture and Rune Stones...Category
Mid-20th Century American Modern Abstract Prints
MaterialsScreen
You May Also Like
- Orofena, from Imaginary Places IIIBy Frank StellaLocated in London, GBLithograph, screenprint, etching and aquatint printed in colours, with relief, 1998, signed in pencil, dated, numbered from the edition of 55 (there were also 14 artist's proofs), with the publisher's blindstamp, Tyler Graphics, Ltd., Mount Kisco, 54.6 x 55.2 cm. (21½ x 21¾ in.) Catalogue Raisonne: Axsom 252 Over a period of four years, Stella created a body of prints whose titles all came from ‘The Dictionary of Imaginary Places’ by Alberto Mangual and Gianni Guadalupi. Each work from this series is recognisable for its teaming compositions of twisting, colliding and knotted forms. The shapes appear to spill out of their sheet, seemingly trying to escape their frames. As he had done since the ‘Swan Engravings...Category
1990s American Modern Abstract Prints
MaterialsEtching, Aquatint, Lithograph, Screen
- Iffish, From Imaginary Places IIIBy Frank StellaLocated in London, GBLithograph, screenprint and etching printed in colours, with relief, 1998, on TGL handmade paper, signed and dated in pencil, numbered from the edition of 55 (there were also 14 artist's proofs), published by Tyler Graphics, Ltd., Mount Kisco, 55.9 x 53.7 cm. (22 x 21¼ in.) Catalogue Raisonne: Axsom 254 Over a period of four years, Stella created a body of prints whose titles all came from ‘The Dictionary of Imaginary Places’ by Alberto Mangual and Gianni Guadalupi. Each work from this series is recognisable for its teaming compositions of twisting, colliding and knotted forms. The shapes appear to spill out of their sheet, seemingly trying to escape their frames. As he had done since the ‘Swan Engravings...Category
1990s American Modern Abstract Prints
MaterialsEtching, Lithograph, Screen
- Aiolio, from Imaginary Places IIIBy Frank StellaLocated in London, GBLithograph, screenprint, etching and aquatint printed in colours, with relief, 1998, signed in pencil, dated, numbered from the edition of 51 (there were also twelve artist's proofs)...Category
1990s American Modern Abstract Prints
MaterialsEtching, Aquatint, Lithograph, Screen
- Surrealist Architectural Landscape "Fall for it" 1970s Chicago ModernistBy William SchwedlerLocated in Surfside, FLThis serigraph has never been framed. Chicago born Modernist. Showed at Andrew Crispo Gallery and Tibor de Nagy Gallery. Schwedler could not help but be influenced by the local artistic milieu particularly with those contemporaries and friends who formed the Hairy Who in the Mid - 1960's Schwedler's Paintings from the beginning to his young end were ripe with a surreal, abstract poetry filled with references to landscapes, architecture, texture (cracked), line (broken,chopped, and Pulled to pieces), and delicate, but voluptuous color. Studying at the Art institute of Chicago with his friends Cynthia Carlson, Jim Nutt...Category
1970s American Modern Abstract Prints
MaterialsScreen
- Vintage Silkscreen Abstract -- The Wheely Whirly StepsBy Alice AycockLocated in Soquel, CAExpressive vintage silkscreen on black paper by Alice Aycock (American, 20th Century). Hand signed and dated "Alice Aycock 1990" with hand written ...Category
1990s American Modern Abstract Prints
MaterialsScreen, Laid Paper
- Prefatio, from the Graphic Tectonics SeriesBy Josef AlbersLocated in New York, NYEdition: 34. This impression is one of only two proofs printed on graph paper. Printed by Reinhard Schumann, Hickory, North Carolina. Reproduced in Formulation: Articulation (portfol...Category
20th Century American Modern Abstract Prints
MaterialsScreen
Recently Viewed
View AllMore Ways To Browse
Midcentury And Orange
Vintage On Point
1930s Modernism
1940s Modernism
Vintage New Orleans Prints
Orange Vintage Illustration
Indian Screens
Southwestern Native American Art
Oeuvres Midcentury Modern
Native American Indian Prints
Mid Century Serigraph
Tom Thomas Gallery
Native American Rock Art
Midcentury Serigraph
Southwestern Indian Art
Portrait Prints Of Native American Indians
Mid Century Circle Orange
Serpentine Rock