Art Card: Richard Diebenkorn, Ocean Park 30 (Hand Signed by Richard Diebenkorn) from the Estate of UACC President Cordelia Platt, 1988

Art Card: Richard Diebenkorn, Ocean Park 30 (Hand Signed by Richard Diebenkorn) from the Estate of UACC President Cordelia Platt, 1988 

Offset lithograph card
Hand signed and dated 8.12.88 in black marker by Richard Diebenkorn on the front
The work depicted in this print is "Ocean Park No. 30", in the permanent collection of the Metropolitan Museum of Art, New York
This work has been elegantly floated in a museum quality wood frame under UV Plexiglass.
Measurements:
Framed:
11 inches (vertical) by 10 inches (horizontal) by 1.5 inches
Print:
6 inches (vertical) by 5 inches (horizontal)
Provenance:
This rare and coveted piece was acquired from the estate and private autograph collection of Cordelia Platt - who received it directly from the artist. Highly regarded in the autograph industry, Cordelia was the president of the UACC (United Autograph Collectors Club) and a well known dealer for many years. She was the official authenticator of Marilyn Monroe. This piece – with the gorgeous full Diebenkorn signature - had been in Ms. Platt's private collection for 20 years before we acquired it. Framed and ready to hang.

RICHARD DIEBENKORN BIOGRAPHY
In the late 1940s and early 50s, Richard Diebenkorn emerged as one of the few successful abstract painters in the United States outside of New York City. Living in Berkeley, California, he developed a unique and respected form of abstract expressionism at a time when the style was gaining ascendancy. In 1955, he unexpectedly switched back to representational painting, a style for which, like his abstract expressionist work, he would eventually gain recognition.

This representational style would interest Diebenkorn until 1966, when he moved to Santa Monica, California. There, he would begin the famous Ocean Park series, which edified his status as a major artist. The works are not strictly abstract or representational but are usually seen as trafficking between the two concepts. On one hand, a viewer can sense the light, color, and even organization of the Santa Monica environment in which Diebenkorn painted the series. On the other hand, the sensations remain abstract and never directly reference a particular landscape.

A monumental painting more than eight feet high, Ocean Park #90, 1976, exemplifies Diebenkorn’s highly recognized work. The painting deftly employs many of the features of the series, large washes of pale color interspersed with angular splits—sometimes considered light through a window, sometimes beach architecture, and sometimes streets. Ocean Park #90, however, is slightly more somber than many other works in the series, pushing blue into a slate gray and daylight into a palette found during a sunset of red and yellow, an evening light.