Frank Stella Shards IV Signed Screenprint 1982 Edition of 100, 2008
Print : lithography, Screen Print · 98.125 x 112.5 x 1 cm 38.6 x 44.3 x 0.4 inch · Ready to hang
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Delivery to: Italy , € 233
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About the artwork
Type
Print : numbered and limited to 98 copies
1 copy available
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
lithography , Screen Print on paper
Dimensions ( cm • inch )
98.125 x 112.5 x 1 cm 38.6 x 44.3 x 0.4 inch Height x Width x Depth
Artwork dimensions including frame
120 x 133.4 x 4 cm 47.2 x 52.5 x 1.6 inch
Sold by
Art gallery
Credentials
Vetted seller since 2026
Description
Artist: Frank Stella (American, 1936–2024) Title: Shards IV Medium: Offset Lithograph and Screen-print on Paper Edition: Numbered CTP III Size: 39.25" x 45" Framed: 47.25" x 52.5" x 1.25" Year: 1982 Inscription: Signed in Pencil, numbered CTP III, and dated along on front Documentation: Includes Gallery Certificate of Authenticity Frank Stella's "Shards IV", from the 1982 "Shards" series, exemplifies the artist's ongoing exploration of texture, form, and abstraction during the early 1980s. Created through a combination of offset lithography and screen-printing, this work demonstrates Stella's characteristic precision and engagement with geometric complexity while simultaneously referencing previous series in his oeuvre. The "Shards" series derives its name from Stella's practice of repurposing elements from earlier works, notably the "Circuits Series" and the 1980 "Polar Coordinates for Ronnie Peterson" series, to construct layered compositions that evoke depth and movement. By the early 1960s, Stella had shifted away from illusionistic space toward flat, irregular shapes, a hallmark of his minimalist beginnings. In the decades that followed, his practice expanded into three-dimensional and maximalist explorations, including large-scale sculptural works, wall reliefs, and series such as "Shards". "Shards IV" embodies this transitional period, reflecting Stella's ability to integrate fragments of previous motifs into a cohesive and visually compelling whole. "Shards IV", is part of the permanent collection of the Whitney Museum and the National Gallery of Victoria, Melbourne. Other works by Frank Stella from the same period are exhibited in the Guggenheim Museum, the Hirshhorn Museum, LACMA, among many others. His early inclusion in exhibitions such as "Three Young Americans" at the Allen Memorial Art Museum and "Sixteen Americans" at MoMA cemented his reputation as a leading figure in postwar American abstraction. In 2009, Stella's contributions were formally recognized with the National Medal of Arts, awarded by President Barack Obama. The lithograph and screen-print measures 39 1/4 inches in height by 45 inches in width and is pencil signed, numbered CTP III, and dated along the lower center. The piece is framed at 47 1/4 inches by 52 1/2 inches with a depth of 1 1/4 inches. The verso carries the artist's signature along with a Denise Rene gallery sticker, and the purchase of this work includes a gallery certificate of authenticity, ensuring provenance and exhibition legitimacy. "Shards IV" remains a testament to Stella's innovative approach to reconfiguring visual language, bridging his minimalist origins with his later maximalist explorations and cementing his legacy as one of the most influential American artists of the twentieth century.
Presentation
Born in 1936 in Malden, Massachusetts, USA, Frank Stella is based in New York. A painter considered the precursor of minimalism, he is one of the main representatives of Op Art and the shaped canvas. After studying art at the Phillips Academy in Andover, Massachusetts, and then history at Princeton University, he was influenced by the abstract expressionism of Pollock and Kline. It was only later that he would renounce the expressive use of paint and reject the lyricism of this movement. He worked on the oppositions between shapes and colors and is the inventor of “cut-out canvases." This led him to break the boundaries of classical geometry, and his paintings would evolve into true sculptures from the 1980s onward.
His first solo exhibition took place in 1960. There he presented his “Black paintings", already exhibited previously at the Museum of Modern Art in New York City during the exhibition “Sixteen Americans". This work was the culmination of his reflections on object painting and marked his break with abstract expressionism. Frank Stella's compositions are defined by the representation of regular black bands separated by thin white lines: here again the artist studies the opposition between forms and (non) colors and uses painting as an end and not as a means of expression or representation. Indeed, as Carl Andre, minimalist painter and sculptor, put it, “For Frank Stella, it proved necessary to paint bands. There is nothing else in his painting. Frank Stella is not interested in expression or sensitivity. He is interested in the necessities of painting. Its stripes are the paths the brush takes on the canvas. These paths lead only to painting.
This exhibition marks the starting point of the minimalism movement.
Frank Stella developed the concept of "cut-out canvases," the outline merging with the geometric shapes represented. He plays with colors. White, black, multicolored, the artist uses different supports, from aluminum to copper, even steel. His compositions are generally series. From the mid-1970s, he took a turn in his artistic approach as he began to work in relief, and was influenced by the Baroque movement.
Since the 1980s, Stella has been interested in sculpture and creates it almost exclusively.
Numerous exhibitions have been dedicated to him; he is one of the few artists to have been able to attend his own retrospective during his lifetime. Indeed, in 1970 and ten years later, exhibitions were dedicated to him at the Musée d'Art Moderne de la Ville de Paris. His sculpture "The Prince of Hamburg" was installed at the National Gallery of Art in Washington in 2001. A retrospective at the Whitney Museum in New York, USA, was dedicated to him in 2015.
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