We use cookies to remember choices you make on functionality and personal features to enhance your experience to our site. By continuing to use our site you consent to the use of cookies. Please refer to our privacy and cookie policies for more information

Skip to main content

Prints & Multiples / Richard Diebenkorn (1922-1993), Green

Property from the Lee-Fischer Estate, Pasadena
Lot 136
Richard Diebenkorn
27 September 2022, 10:00 PDT
Los Angeles

Sold for US$542,175 inc. premium

Own a similar item?

Submit your item online for a free auction estimate.

How to sell

Looking for a similar item?

Our Prints & Multiples specialists can help you find a similar item at an auction or via a private sale.

Find your local specialist

Ask about this lot

Richard Diebenkorn (1922-1993)

Green, 1986
Etching with aquatint and drypoint in colors on Somerset paper, initialed in pencil, dated and numbered 42/60 (there were also 10 artist's proofs), with the blindstamp of the publisher/printer, Crown Point Press, San Francisco, with full margins, framed.
44 7/8 x 35 1/4in (114 x 89.5cm)
sheet 53 1/2 x 40 1/4in (135.9 x 102.2cm)


Green, Diebenkorn's largest and most important print, is related to the California-based artist's iconic Ocean Park painting series. The composition's delicate, yet calculated balance of abstract elements, vibrant colors and sheer size were a culmination of Diebenkorn's triumphs in printmaking and his long-standing relationship with Crown Point Press.

Diebenkorn began printing with the Bay Area print shop in 1963, just a year after its founding, and worked there every year from 1977 until his death. The creation of Green was a challenging, experimental, time-consuming project as the final printing took seven plates, three different greens and five printers to complete. Due to the monumental size and intricacy of the image, the printers needed an hour and a half to ink the plate and two hours to print each impression.

The artist worked closely with the master printers making numerous changes, resulting in dozens of different states and working proofs. Kathan Brown, founder of Crown Point Press, recalls "after the printers pulled a proof, he pasted or pinned cutout shapes to it until he got something he thought might work. Then the printers helped him figure out how to put the changes he wanted into the plates." Green's creation is the pinnacle of collaboration as the printers' ingenuity and mastery of the medium allowed for Diebenkorn to push the boundaries of the technique and bring his ambitious vision to life.

Additional information

News and stories