Alfred Jensen (American, 1903-1981), A Pythagorean Notebook IX, 1965, Lithograph
Alfred Jensen (American, 1903–1981) was a Guatemala-born painter and printmaker whose mature work transformed mathematical formulas, calendars, number systems, and diagrams into densely structured abstractions. After studying with Hans Hofmann in Munich and later at the Académie Scandinave in Paris, Jensen settled in New York and gradually moved away from gestural painting toward compositions organized by grids, numerical sequences, and handwritten notation. His paintings and prints frequently drew on Pythagorean mathematics, Mayan calendrical systems, astronomy, and Goethe’s theories of color, treating these systems as both subject matter and a framework for composition. The National Gallery of Art holds numerous works by Jensen, including the complete 1965 A Pythagorean Notebook portfolio, and his work has also been the subject of major exhibitions at the Solomon R. Guggenheim Museum.
A Pythagorean Notebook IX, 1965, color lithograph from aluminum, zinc, and stone on wove Arches paper by Alfred Jensen. The composition presents a vertically oriented black-and-white checkerboard field overlaid with nested rectangular bands of red, blue, yellow, and black squares, all set against a fine blue numerical grid. The handwritten heading “Maya Structure!” appears across the top, while sequences of numbers and equations, including repeated calculations totaling 2,184, occupy the lower portion of the sheet. The work is recorded as Tamarind catalogue no. 1384. Printed and published by the Tamarind Lithography Workshop, Los Angeles, it was issued as part of A Pythagorean Notebook in an edition of 20 with nine additional Tamarind impressions. This impression is inscribed in graphite “Tam. Imp.” and signed “Alfred Jensen” at lower right, with Tamarind and Kenneth Tyler blindstamps; “Tam. Imp.” identifies an impression retained by the workshop outside the numbered edition. The verso bears the graphite catalogue notation “1384.” Sheet measures approximately 22.5 x 16.75 inches. The sheet shows light toning and minor handling, with two old tape remnants along the upper verso and minor edge wear; image presents well. Provenance of Martin and Enid Gleich.
Condition
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Dimensions
22.5 x 16.75 in
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Alfred Jensen (American, 1903–1981) was a Guatemala-born painter and printmaker whose mature work transformed mathematical formulas, calendars, number systems, and diagrams into densely structured abstractions. After studying with Hans Hofmann in Munich and later at the Académie Scandinave in Paris, Jensen settled in New York and gradually moved away from gestural painting toward compositions organized by grids, numerical sequences, and handwritten notation. His paintings and prints frequently drew on Pythagorean mathematics, Mayan calendrical systems, astronomy, and Goethe’s theories of color, treating these systems as both subject matter and a framework for composition. The National Gallery of Art holds numerous works by Jensen, including the complete 1965 A Pythagorean Notebook portfolio, and his work has also been the subject of major exhibitions at the Solomon R. Guggenheim Museum.
A Pythagorean Notebook IX, 1965, color lithograph from aluminum, zinc, and stone on wove Arches paper by Alfred Jensen. The composition presents a vertically oriented black-and-white checkerboard field overlaid with nested rectangular bands of red, blue, yellow, and black squares, all set against a fine blue numerical grid. The handwritten heading “Maya Structure!” appears across the top, while sequences of numbers and equations, including repeated calculations totaling 2,184, occupy the lower portion of the sheet. The work is recorded as Tamarind catalogue no. 1384. Printed and published by the Tamarind Lithography Workshop, Los Angeles, it was issued as part of A Pythagorean Notebook in an edition of 20 with nine additional Tamarind impressions. This impression is inscribed in graphite “Tam. Imp.” and signed “Alfred Jensen” at lower right, with Tamarind and Kenneth Tyler blindstamps; “Tam. Imp.” identifies an impression retained by the workshop outside the numbered edition. The verso bears the graphite catalogue notation “1384.” Sheet measures approximately 22.5 x 16.75 inches. The sheet shows light toning and minor handling, with two old tape remnants along the upper verso and minor edge wear; image presents well. Provenance of Martin and Enid Gleich.
Condition
Please review the photos for a complete understanding of condition.
Dimensions
22.5 x 16.75 in
Sale price
Estimate
Reserve
Time, Location
Auction House
