Frank Stella, ‘York Factory Ii’, 1974, Waddington's
Frank Stella, ‘York Factory Ii’, 1974, Waddington's
Frank Stella, ‘York Factory Ii’, 1974, Waddington's

Image/Sheet 13.5" x 41" — 34.3 x 104.1 cm.; 18.5" x 44.4" — 47 x 112.8 cm.

Published by Gemini G.E.L., Los Angeles with their blindstamp lower right corner

From the Catalogue:
One of America’s most influential living artists, Frank Stella’s iconic, bright weaving arcs are gems to behold. Influenced by a trip to Iran, York Factory II, 1974 takes cues from decorative Persian design. Part of the Protractor Series that marked a significant shift in Stella’s practice in the late 1960s, these works recall a semicircular drafting tool used to measure angles for which York Factory is a perfect example. Composed of interlocking protractors York Factory II creates the most delightful pattern from which there is no start or end point. Using a refined palette emboldened by a black background is a rare combination for Stella, York Factory II shows the artist’s genius with a wide breath of colour use. Scarce and technically complex, York Factory II was printed from 53 different screens, each a different colour. A juxtaposition between Post-Painterly Abstraction and Minimalism, Stella is a master illusionist, blending the abstract with the decorative in unconventional ways.
Courtesy of Waddington's

Signature: signed dated ‘74 and numbered 34/100 in white pencil to margin

AXSOM, 94; GEMINI, 567

With The Uptown Gallery, New York label verso; Prominent Private Collection

About Frank Stella

Frank Stella, an iconic figure of postwar American art, is considered the most influential painter of a generation that moved beyond Abstract Expressionism toward Minimalism. In his early work, Stella attempted to drain any external meaning or symbolism from painting, reducing his images to geometric form and eliminating illusionistic effects. His goal was to make paintings in which pictorial force came from materiality, not from symbolic meaning. He famously quipped, “What you see is what you see,” a statement that became the unofficial credo of Minimalist practice. In the 1980s and '90s, Stella turned away from Minimalism, adopting a more additive approach for a series of twisting, monumental, polychromatic metal wall reliefs and sculptures based on Herman Melville’s Moby Dick.

American, b. 1936, Malden, Massachusetts, based in New York and Rock Tavern, New York