Lot 349. Julian Stanczak (American/Polish, 1928 – 2017). Veiled. Serigraph on paper, in 3 colors (green, blue and purple). Signed and edition numbered ’90/90′ (bottom right), 32 1/2″ x 26. Anderson Gallery, Buffalo, New York. Estimate $300 – $500. Cottone Auctions. 06/18/20
Artysta, wywieziony z rodziną na Syberię, chorował, utarcił zdolność władania prawą ręką a uratował się później dzięki Andersowi. Po tułaczce, przez Afrykę, dotarł do USA i tam niezwykle konsekwentnie i z wielka pasją rozwijał swoją wizję op-artu. W Polsce dopiero od kilkunastu lat stał się popularny, gdzie sprzedaje się głównie jego oryginalne, sygnowane i numerowane seriografie jakie wydawał w nakładach of kilkudziesięcieu do ok 200 egzemplarzy. Te seriografie staja się coraz droższe i w Polsce są cenione obecnie w granicach 4,000 – 6,000 złotych.
Lot 343. Julian Stanczak (American/Polish, 1928–2017), “Dedicated“. (Cincinnati Print and Drawing Circle). 1971. Serigraph. Artist proof, edition of 90. 26″ x 31”. Anderson Gallery, Buffalo, New York. David K. Anderson Grandchildren’s Trust. Estimate $300 – $500. Cottone Auctions. 06/18/20
Trudno mi przywyknąć, że dobre polskie malarstwo XIX wieczne przegrywa na rynkach aukcyjnych z ze współczesnym op-artem. Przykład z dnia dzisiejszego: pracę Franciszka Żmurki z około 1880 roku (pokazana w poprzednim wpisie ) sprzedano za jedyne $1,100, natomiast duży akrylik Juliana Stańczaka z 1978 roku zapalił kilka osób do zaciętej walki skutkiem czego sprzedano go za $70,000. Dla mnie op-art jest jedynie przeniesieniem na płótno pewnej geometrii mało mającej wspólnego z odczuciem bo jest to kreślarstwo połączone z iluzją optyczną. Pewnie nie mam racji skoro jest taki pęd do kupowania tego typu prac. Prawdę powiedziawszy bardzo cieszę się z tego bo łatwiej będzie mi kupić to co mnie inetresuje. Wierzę, że moda ta (op-art) kiedyś przeminie i nastąpi powrót do korzeni malarstwa. [A co będzie jeśli nie mam racji?]
Lot 58. Julian Stanczak, Polish/American, 1928-2017. An Op Art. acrylic on canvas painting entitled “STRATIFIED“, 1978. Signed “Julian Stanczak, 78″ verso and additionally annotated on stretcher. Original metal frame, minor surface imperfections. 81 x 51” high overall. ESTIMATE $20,000-40,000 Property of a Franklin, Michigan Collector, acquired from London Fine Arts Gallery, Detroit. Estimate $20,000 – 40,000. Schmidt’s Antiques. 01/01/20. Sold $70,000.
Dom aukcyjnu Avra Art jako bonus podaje dośc dokładny życiorys Juliana Stańczaka z jakim warto zapoznać się. To typowy niestey życiorys Polaka mieszkającego na terytorium zagrabionego Polsce przez bolszewicka zarazę w 1939 roku i brutalnie deportowanego wgłąb Rosji. Nie wiedziałem jednak, że jego kolegą ze studiów był Ryszard Anuszkiewicz, równie znany artysta, polskiego pochodzenia, zajmujący się Op-Artem. Anuszkiewicz jest chyba nawet bardziej rozpoznawalnym na rynku międzynarodowym artystą od Stańczaka.
$200- 400 za te pracę to teraz doprawdę tanio.
Lot 271. JULIAN STANCZAK (1928-2017, Poland). Mirrored screenprint 48 1/2 x 24 1/2 in. (framed). Estimate $200 – 400. Avra Art Auctions. 01/04/20
Julian Stanczak, a Polish-born American abstract painter who rose to fame as a leading figure of the popular Op Art movement but slipped into obscurity when its reputation flagged, died on March 25 at his home in Seven Hills, Ohio, a Cleveland suburb. He was 88. His death was confirmed by his New York gallery, Mitchell-Innes & Nash. His family said that he had died after a short illness. Mr. Stanczak was a firmly optimistic artist, despite injuries in a Soviet labor camp during World War II that rendered his dominant right arm useless. He helped name the art movement to which he was linked in 1964 when his New York debut at the Martha Jackson Gallery was titled “Julian Stanczak: Optical Paintings. ”Reviewing that exhibition in Arts magazine, Donald Judd, then an emerging Minimalist sculptor, coined the phrase Op Art in a sardonic closing sentence, linking the upsurge in perceptual abstraction, as it was sometimes called, to the Museum of Modern Art’s plans to survey the trend. Indeed, Op Art went supernova in 1965, with the Modern’s exhibition “The Responsive Eye” (even though the museum avoided the term). While critically derided, the exhibition set attendance records at the museum. It represented around 100 artists, from 15 countries and nearly three generations, working in assorted optical or geometric styles.Mr. Stanczak’s art evinced a tremendous geometric inventiveness. He constantly elaborated on the possibilities of parallel stripes, both straight and undulant; squares, both checkerboard and concentric; and grids, usually amplified by contrasting saturated colors. He once told an interviewer that his style was an attempt to forget about his war traumas. “I did not want to be bombarded daily by the past,” he said. “I looked for anonymity of actions through nonreferential abstract art.” But his work was far from anonymous. He produced some of the most emotionally gripping paintings associated with the Op trend. This was achieved partly by his delicately textured paint surfaces and partly by the soft light that often infiltrated his forms and patterns, the result of an infinitesimal adjustment of the shades of one or two colors. His main concern, in fact, was color, which he viewed subjectively. “Color is abstract, universal,” he once said, “yet personal and private in experience. It primarily affects us emotionally, not logically, as do tangible things.” Julian Stanczak was born on Nov. 5, 1928, on his grandfather’s farm near the village of Borownica, Poland. His father worked in construction and built houses in addition to farming, and Julian loved to make things from wood, including furniture and toys. In 1940, during Russia’s occupation of the eastern half of the country, Mr. Stanczak and his family were caught up in the first wave of mass deportations of Poles to Siberian labor camps. They ended up cutting timber in the Ural Mountains, where conditions were brutal. Mr. Stanczak survived pneumonia, encephalitis and near starvation, but overwork permanently incapacitated his right arm. In 1942 the Soviet Union granted amnesty to imprisoned Polish citizens, and Mr. Stanczak and his family walked and hitchhiked 2,500 miles south to Tehran, where his father joined the Polish Army in exile. Saying he was 17 and not 14, Mr. Stanczak also joined — partly to eat, partly in the hope that the army’s doctors might help his arm. When they made it worse, he deserted. Mr. Stanczak, his mother and his sister ended up spending six years in a Polish refugee camp in Uganda. There, Mr. Stanczak learned to write and paint left-handed. He was, he said, profoundly affected by the African light, the intensely colored sunsets and what he called “the immense visual energy” of nature there — the plants, trees and animals, especially zebras. He also admired the geometric patterns of the textiles from which Ugandan women made their clothing. By 1948, when his family was reunited in London, Mr. Stanczak was making small, patterned abstractions in bright colors or in black and white. He studied art at the Borough Polytechnic Institute for two years and devoted himself to the city’s art museums. In 1950 the family relocated to Cleveland, and in 1954 he earned a bachelor of fine arts degree from the Cleveland Institute of Art. He then studied for his master’s at Yale with Conrad Marca-Relli and Josef Albers, who was well known for his color theories (and who was also the oldest artist in the “Responsive Eye” exhibition). Mr. Stanczak’s roommate was Richard Anuszkiewicz, another graduate of the Cleveland Institute and, later, another prominent Op artist. Mr. Stanczak, who became a United States citizen in 1957, taught at the Cincinnati Academy of Art for seven years. In 1964, the year of his first New York show, he was appointed professor of painting at the Cleveland Institute of Art, where he taught for 38 years. He is survived by his wife, Barbara Stanczak, a sculptor; their daughter, Danusia M. Casteel; their son, Krzys; two grandchildren; and a great-grandson. Mr. Stanczak remained affiliated with the Martha Jackson Gallery until it closed in 1979, by which time Op Art had been largely superseded by Minimalism and other more austere kinds of geometric abstraction — at least within the confines of New York. He continued to exhibit frequently elsewhere, especially in galleries and museums across the Midwest; more than 90 museums in the United States and abroad ultimately acquired his work. But he did not have a solo show in New York until 2004, at the Stefan Stux Gallery, followed by another there in 2005.On that occasion, Grace Glueck of The New York Times noted that Mr. Stanczak’s work “has steadily become more refined and ingenious” and asked, “Who says Op Art is dead?” By then, renewed interest was bringing it back to life. From 2010 to 2016, D. Wigmore Fine Art, a New York gallery, mounted six group shows examining different aspects of Op Art, including its manifestations in Ohio; the shows featured Mr. Stanczak’s work prominently. Articles on his work appeared in Artforum and Art in America. In 2012, Mr. Stanczak’s paintings were included in “Ghosts in the Machine,” a thematic exhibition at the New Museum in Manhattan. In 2014, he had his first show with Mitchell-Innes & Nash. A second one will open there next month.
Lot 48. Julian Stanczak (1928-2017). Folding with Light, signed, titled and dated ‘JULIAN STANCZAK “FOLDING WITH LIGHT’ 1971′ (on the stretcher); signed and dated again ‘Julian Stanczak 1971’ (on the reverse), acrylic on canvas, 417⁄8 x 633⁄4 in. (106.4 x 162 cm.). Provenance: Phyllis Weston Gallery, Cincinnati, Private collection. Acquired from the above by the present owner. Painted in 1971. Estimate $40,000 – 60,000. Christie’s. 12/09/19
Jeden akrylik o poważnej estymacji oraz trzy przystępne cenowo seriografie Juliana Stańczaka, wszystkie prace z 1971 roku, na nadchodzących aukcjach. Seriografie są nadal tanie lecz, sądząc po coraz wyższych cenach oryginalnych prac, nie będzie to trwało długo. Może to okazje? Z drugiej strony, seriografii Julian Stańczak produkował stosunkowo dużo.
Lot 6. Julian Stanszak (American/Polish, 1928-2017) Dedicated (Cincinnati Print and Drawing Circle), 1971. Serigraph on paper in 5 colors (red, org, 3 pnk). Signed ‘J. Stanszak’ (lower right) and numbered edition (at left). 26 1/4″ x 31 3/4″. Anderson Gallery, Buffalo, New York. David K. Anderson Grandchildren’s Trust. Estimate $400 – $600. Cottone Auctions. 12/10/19
Lot 7. Julian Stanszak (American/Polish, 1928 – 2017). Fractions, 1971. Lithograph on paper in 3 colors (org, lt-blu, grn). Signed ‘J. Stanczak’ (lower right) and numbered edition ’71/90′ (lower left). 27″ x 26 3/4″. Anderson Gallery, Buffalo, New York. David K. Anderson Grandchildren’s Trust. Estimate $400 – $600. Cottone Auctions. 12/10/19
Lot 19. Julian Stanczak (American/Polish, 1928 – 2017). Centered Rings. 1971. Seriograph. Edition 81/90, 32″ x 26 1/2″. Anderson Gallery, Buffalo, New York. David K. Anderson Grandchildren’s Trust. Estimate $400 – $600. Cottone Auctions. 12/10/19
Bardzo ciekawy człowiek i artysta. Uratował się cudem z Syberii, stracił tam władzę w jednej ręce i po długich powojennych przygodach znalazł się w USA i rozpoczął tam swoją op-art artystyczną karierę. Bardziej był znany w USA niż w Polsce, choć ostatnio jego prace w kraju są zauważane i (oleje) są już bardzo drogie. Zachęcam do przejrzenia sieci, jest tam sporo filmów z tym niedawno zmarłym artystą. Na obecnych aukcjach naliczyłem pięć jego prac: jeden olej, jeden silkscreen i trzy seriografie. Na każdą kieszeń.
Lot 2058. “Accompanying Warm,” 1979. Oil on canvas. Signed and dated verso: Julian Stanczak, signed and dated again and titled on the stretcher, 32″ H x 32″ W. Provenance: Nevada Museum of Art, Reno, NV. Literature: “Accompanying Warm,” 1979 is documented on the artist’s site julianstanczak.com under collections. Juilan Stanczak studied with Josef Albers at Yale and then went on help found the Op Art movement, a term named after Stanczak’s first solo exhibition in New York City in 1964. “The primary drive of colors is to give birth to light. But light always changes; it is evasive. I use the energy of this flux because it offers me great plasticity of action on the canvas.” -Julian Stanczak. Estimate $30,000 – 50,000. John Moran. 11/19/19
Lot 182. Julian Stanczak, (American/Polish, 1928 – 2017) “Dimensional“. Serigraph. 1971, 41 of 90. In six colors, signed at right, numbered at left in pencil. 26″ x 32”. Anderson Gallery, Buffalo, NY. Estimate $500 – 800. Cottone Auctions. 11/23/19
Lot 183. Julian Stanczak, (American/Polish, 1928 – 2017) “Three Color Cut-Out“. Serigraph. 1970, 21 of 165. In three colors, signed at lower right, numbered at lower left. On embossed paper. 28 1/4″ x 28 1/4”. Anderson Gallery, Buffalo, NY. Estimate $500 – 800. Cottone Auctions. 11/23/19
Lot 2300. Julian Stanczak silkscreen on foil, titled Boreal, signed in pencil and dated ’73, 48” x 24”. Estimate $200 – 400. Pook & Pook. 11/01/19
Lot 430. Julian Stanczak (1928 – 2017) Ohio European, op-art optic art limited edition pencil signed serigraph screenprint. Depicts an op art image in blue red and green. Signed lower right and numbered 48/165. Work measures 24 1/4″ x 21 1/4″. Housed in frame measuring 28 3/4″ x 28 3/4″. Good / fair overall condition with cockling and waviness wear to frame. Estimate $100 – 1,000. Hill Auction Gallery. 10/30/19