Ruth Asawa (American, 1926-2013), Chair, 1965, Lithograph
Ruth Asawa (American, 1926–2013) was a Japanese American sculptor and printmaker who also became an influential advocate for arts education. After her family was forcibly incarcerated during World War II, she studied at Black Mountain College, where Josef Albers’s emphasis on material and direct experimentation helped shape her approach. She became best known for hanging wire sculptures formed from repeated loops, creating open structures in which interior and exterior remain visible at once. Her drawings and lithographs apply the same patient attention to contour, often concentrating on plants or ordinary objects observed at close range. Asawa later helped establish community arts programs in San Francisco and supported the creation of the city’s public arts high school. Her work is held by the Museum of Modern Art and the San Francisco Museum of Modern Art. (1)
Chair, 1965, lithograph from stone in black on Copperplate Deluxe paper. A wicker armchair is rendered through tightly repeated woven and braided patterns, with its circular back, latticework seat, wrapped arms, and open lower framework echoed by many small white rectangular marks radiating across the surrounding black field. The National Gallery of Art identifies this version as Tamarind catalogue raisonné no. 1558II, State II. Printed by John Henry Rock and published by the Tamarind Lithography Workshop. The second state was issued in an artist’s edition of 10, with nine additional Tamarind impressions. Inscribed in graphite within the lower image “TAM IMP ASAWA,” with the Tamarind and Rock blindstamps; the verso bears the “COPPERPLATE DELUXE PAPER” stamp and is inscribed “1558 / State II.” “TAM IMP” identifies this example as an impression retained by the workshop outside the regular numbered edition. Sheet measures approximately 41.25 x 29.75 inches. The sheet shows overall toning with pronounced discoloration and old mounting residue to the verso, particularly across the upper portion and along the edges, with three remnants of mounting tape along the upper verso. Image presents well. Provenance of Martin and Enid Gleich.
Condition
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Dimensions
41.25 x 29.75 in
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Ruth Asawa (American, 1926–2013) was a Japanese American sculptor and printmaker who also became an influential advocate for arts education. After her family was forcibly incarcerated during World War II, she studied at Black Mountain College, where Josef Albers’s emphasis on material and direct experimentation helped shape her approach. She became best known for hanging wire sculptures formed from repeated loops, creating open structures in which interior and exterior remain visible at once. Her drawings and lithographs apply the same patient attention to contour, often concentrating on plants or ordinary objects observed at close range. Asawa later helped establish community arts programs in San Francisco and supported the creation of the city’s public arts high school. Her work is held by the Museum of Modern Art and the San Francisco Museum of Modern Art. (1)
Chair, 1965, lithograph from stone in black on Copperplate Deluxe paper. A wicker armchair is rendered through tightly repeated woven and braided patterns, with its circular back, latticework seat, wrapped arms, and open lower framework echoed by many small white rectangular marks radiating across the surrounding black field. The National Gallery of Art identifies this version as Tamarind catalogue raisonné no. 1558II, State II. Printed by John Henry Rock and published by the Tamarind Lithography Workshop. The second state was issued in an artist’s edition of 10, with nine additional Tamarind impressions. Inscribed in graphite within the lower image “TAM IMP ASAWA,” with the Tamarind and Rock blindstamps; the verso bears the “COPPERPLATE DELUXE PAPER” stamp and is inscribed “1558 / State II.” “TAM IMP” identifies this example as an impression retained by the workshop outside the regular numbered edition. Sheet measures approximately 41.25 x 29.75 inches. The sheet shows overall toning with pronounced discoloration and old mounting residue to the verso, particularly across the upper portion and along the edges, with three remnants of mounting tape along the upper verso. Image presents well. Provenance of Martin and Enid Gleich.
Condition
Please review the photos for a complete understanding of condition.
Dimensions
41.25 x 29.75 in
Sale price
Estimate
Reserve
Time, Location
Auction House
