Julian Stańczak (1928 – 2017)

Julian Stańczak. Spinning Cluster, 1971

Lot 1. Julian Stanczak (American, 1928-2017) “Spinning Cluster“. 1971. Serigraph. Editition 46 of 90. 26 3/4 x 26 3/4 in. Anderson Gallery, Buffalo, New York. Estimate $500 – $800. Cottone Auctions. 01/21/21

Kilka litografii stającego się coraz bardziej wziętego (po śmierci) Juliana Stańczaka. Jedna z litografii nie jest sygnowana i może byc uznana jako ‘proof’.

Julian Stańczak. Yellow One, 1970

Lot 2. Julian Stanczak (American, 1928-2017) “Yellow One“. 1970. Serigraph. Signed (lower right). Possibly artist proof. 28 1/2 x 28 1/2 in. Anderson Gallery, Buffalo, New York. Estimate $500 – $800. Cottone Auctions. 01/21/21

Julian Stańczak. Litografia

Lot 3. Julian Stanczak (American, 1928-2017). Lithograph, edition 39 of 90. Signed (lower right). 32 1/4 x 26 3/4 in. Anderson Gallery, Buffalo, New York. Estimate $500 – $800. Cottone Auctions. 01/21/21

Julian Stańczak. Centered Rings

Lot 4. Julian Stanczak (American, 1928-2017) “Centered Rings“. Serigraph, edition 87 of 90. 32 1/4 x 26 3/4 in. Anderson Gallery, Buffalo, New York. Estimate $500 – $800. Cottone Auctions. 01/21/21

Julian Stańczak (1928 – 2017)

Julian Stańczak. Sway in warm light, 1998

Szokuje dwuznaczność, celowa nieścisłość granicząca z przekłamaniem, niemieckiego opisu życiorysu Juliana Stańczaka: „Julian Stanczak fled to Uganda as a teenager following deportation”. To jest oczywista nieprawda, że on ‘fled to Uganda’. Najpierw był napad Niemców na Polskę, potem rosyjski ‘nóż w plecy’ 17-go września 1939, następnie stalinowskie deportacje Polaków na Syberię, po czym pakt sowietów z polskim rządem i amnestia dla zesłanych Polaków. Sporo dzieci zesłanych na Syberię, ta jak Stańczak, przez Irak, Palestynę (czasami Indie), lądowało tymczasowo w Afryce. Dalej w opisie jest prawda.

Warto zauważyć, że obraz przywędrował z Kalifornii do Polski a teraz do Niemiec… a może stąd znowu do Polski, bo gdzie indziej?. Czyżby oscylator finansowy?

Lot 214. Julian Stanczak. Sway in warm light. 3- part work: each acrylic on canvas Each 122 x 62 cm. Overall dimensions 122 x 186 cm. Framed together. Signed and dated ‘Stanczak 98’ verso on canvas. Signed, dated and titled ‘JULIAN STANCZAK “SWAY IN WARM LIGHT” 1998’ verso on stretcher. – Minor traces of age. Provenance Selker Fine Art, Rancho Santa Fe/California; private collection, Poland
Born in Poland in 1928, Julian Stanczak fled to Uganda as a teenager following deportation. In Africa, he experienced a diversity of colour and intensity of light that made a great impression on him. These laid the foundation of his artistic development and his life-long preoccupation with colour. In 1950, Stanczak emigrated to the USA; at Yale his teacher was Josef Albers. In 1950 ­- inspired by Albers – he applied himself to an abstract visual language which evoked visual interaction by means of densely arranged variegated shapes. Stanczak thus became one of first representatives of Op Art, just as his fellow student Richard Anuszkiewicz. Stanczak followed this path consistently in subsequent years, experimenting with grid patterns of stripes, squares and waves in vibrant colours. In contrast to other representatives of Op Art, Stanczak was not primarily interested in flamboyant effects or in optically challenging the viewer, but in the visualisation of fleeting, subtle impressions. “Er sucht nach einer universalen Formgebung für die unscheinbarsten, aber lebenswichtigen Kostbarkeiten des Alltags, die uns mit dem „Jetzt“ verbinden, mit dem lebendigen Augenblick, der sich nicht festhalten lässt […] eine Veränderung des Lichts, eine Bewegung, verursacht von unbeachteten kleinen Geschehen, die man nur aus dem Augenwinkel miterlebt.“ (Elizabeth McClelland, in: (Elizabeth McClelland: exhib.cat. Julian Stanczak, A Retrospective, Youngstown/Ohio i.a. 1998, p.155). Estimate 60,000 – 80,000 euro. Lempertz. 12/08/20

Julian Stańczak (1928 – 2017)

Julian Stańczak. Dynamische Anordnung in blau und orange, 1969

Lot 229. Julian Stanczak (1928 Borownica – 2017 Ohio). Dynamische Anordnung in blau und orange, Acryl auf Holz, 60,5 cm x 61 cm, signiert, 1969 datiert, Holzplatte beschädigt; Julian Stanczak war ein amerikanischer Maler und gilt als Mitbegründer der optischen Kunst. Mit Ausbruch des Zweiten Weltkriegs wurde er 1939 in einem Arbeitslager in Sibirien interniert, in dem er die Funktionsfähigkeit seines rechten Armes dauerhaft verlor. Bis zu dieser Zeit war er Rechtshänder. Die Jahre 1948 bis 1950 verbrachte Stanczak in London, wo er am Borough Polytechnic Institute studierte. In den 1950er Jahren begann er mit Mitteln der optischen Kunst zu experimentieren, die Bekanntheit durch ihre präzisen Formmuster und geometrischen Farbstrukturen erlangte. Sein Oeuvre durchzieht seitdem ein Zusammenspiel aus dynamischer Intensität und zugleich auch unbesorgter Verspieltheit. Stanczaks abstrakte Kompositionen sind erfüllt von schwingenden Farben und optischen Täuschungen, die nichts von seinen traumatischen Erfahrungen des zweiten Weltkriegs preisgeben. 1952 emigrierte er in die USA. Dort studierte er zunächst am Cleveland Institut of Art in Cleveland, Ohio. 1954 schloss er das Studium mit dem Bachelor of Fine Art ab. Danach wurde er in der Yale University von Josef Albers und Conrad Marca-Relli unterrichtet, wo er den Abschluss Master of Fine Art machte. Julian Stanczak blieb der der Op-Art immer treu. Der Name der Stilrichtung wurde in Anlehnung an der großen Ausstellung “Julian Stanczak: Optical Paintings”, die 1964 in der Martha-Jackson-Galerie in New York City stattfand, gewählt. Reserve 9,000 euro. Auktionshaus an der Ruhr. 11/14/20

Przedtawiam dwa op-arty Juliana Stańczaka z rynku niemieckiego.Obie prace są olejami a nie litografiami. Stańczak to artysta, który całe swoje życie poświęcił op-artowi i na terenie Ameryki odnosił sukcesy. Życie jego zaczęło się tragicznie na skutek wywózki na Syberię przez bolszewików, lecz uratował się dzięki Andersowi. Pomimo odniesionego kalectwa na Syberii, niedowładu reki, potrafił się wybić jako artysta. W Polsce jego prace zaczęły się przebijać stosunkowo niedawno, za to bardzo mocno. Proszę poszukać ile kosztują jego oleje na polskich aukcjach a chętniej będziecie wypatrywali okazji. Te dwa oleje to okazje biorąc pod uwagę polskie ceny.

Julian Stańczak. Wellen in rot und blau, 1969

Lot 230. Julian Stanczak (1928 Borownica – 2017 Ohio). Wellen in rot und blau, Acryl auf Holz, 60,5 cm x 61 cm, signiert, 1969 datiert, partiell beschädigt, berieben. Reserve 9,000 euro. Auktionshaus an der Ruhr. 11/14/20

Julian Stańczak (1928 – 2017)

Lot 64. Julian Stanczak (Polish/American, 1928 -2017). “Dimensional“, 1972. Color serigraph on Fabriano cotton paper, signed in pencil lower right, numbered 29/90 in pencil lower left, in a metal frame, overall 27 ¼” x 32 ¼”. Estimate $500 – 1,000. Aspire. 06/18/20

Seriografie Julina Stańczaka, bardzo konsekwenteego, przez całe swoje zycie w USA, op-artysty.

Lot 65. Julian Stanczak (Polish/American, 1928 – 2017). “Rising No. 1 from Eight Variatnts“, ca. 1970. Color silkscreen, signed in pencil lower right, numbered 56/165 in pencil lower left, in a metal frame, overall 28 ¼” x 28 ¼”. Estimate $300 – 600. Aspire. 06/18/20

Lot 66. Julian Stanczak (Polish/American, 1928 – 2017). “Quadrille“, 1973. Silkscreen in color on stainless steel foil, signature inscribed in foil lower right, edition number 64/80 inscribed lower left, in a metal frame, commissioned by the University Print Club (Cleveland), in a metal frame, overall 24 ¾” x 24 ¾”. Estimate $500 – 700. Aspire. 06/18/20

Julian Stańczak (1928 – 2017)

Julian Stańczak. Harmony Green , 1991

Juliana Stańczaka akryle od niedawna stały się drogie i ceny oscyują juz do $100,000 ( w zależności od wymiaru pracy). Każdy z jego akryli jest ‘dobry’.

Lot 70. Julian Stanczak (American, 1928-2017). Harmony Green , 1991, acrylic on panel, signed J. Stanczak, titled and dated (verso), 14 x 14 inches. Estimate $10,000 – $15,000. Hindman. 05/21/20

Julian Stańczak (1928 – 2017)

Julian Stańczak. Veiled

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.

Julian Stańczak. Dedicated, 1971

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

Julian Stańczak (1928 – 2017)

Julian Stańczak. STRATIFIED, 1978

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.

Julian Stańczak (1928 – 2017)

Julian Stańczak.

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.

Julian Stańczak (1928 – 2017)

Julian Stańczak. Folding with Light, 1971

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, 4178 x 6334 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.


Julian Stańczak. Dedicated, 1971

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


Julian Stańczak. Fractions, 1971

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


Julian Stańczak. Centered Rings, 1971

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

Julian Stańczak (1928 – 2017)

Julian Stańczak. Accompanying Warm, 1979

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


Julian Stańczak. Dimensional, 1971

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


Julian Stańczak. hree Color Cut-Out, 1970

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


Julian Stańczak. Boreal, 1973

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


Julian Stańczak. Untitled

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