Signed, dated and edition 9/10 in the lower right. Etching on paper depicting a tree in winter. Matted and framed under glass, H 16.25", W 12.25". Arwin Galleries, Detroit, label on the verso. Theo Wujcik was a Detroit area artist who studied at the College for Creative Studies under Sarkis Sarkisian. He later taught at CCS and several other prominent universities. Provenance: Property from the estate collection of James "Jaime" Hansen, Royal Oak and Palms, MI
Pencil signed in the lower right, titled lower left, edition and date in the lower center. Portrait of a midget wrestler. Framed under glass in a painted wood frame, H 17", W 14.75". Arwin Galleries, Detroit, label on verso. Theo Wujcik was a Detroit area artist who studied at the College for Creative Studies under Sarkis Sarkisian. He later taught at CCS and several other prominent universities. Provenance: Property from the estate collection of James "Jaime" Hansen, Royal Oak and Palms, MI. Arwin Galleries, Detroit, MI.
Signed in pencil, dated and numbered 33/40, published by Graphicstudio, University of South Florida, Tampa. Provenance: Property from a Grosse Pointe, MI private collector.
Signed in pencil, dated and numbered 33/40, published by Graphicstudio, University of South Florida, Tampa. Provenance: Property from a Grosse Pointe, MI private collector.
Signed in pencil lower right, dated and numbered 33/40, published by Graphicstudio, University of South Florida, Tampa. Provenance: Property from a Grosse Pointe, MI private collector.
Theo Wujcik James Rosenquist 1972 silverpoint on paper 16.375 h x 19 w in (42 x 48 cm) Signed and dated to lower right 'Theo Wujcik 72'. This work is unique. Provenance: Brooke Alexander, Inc., New York | Private Collection This work will ship from Lambertville, New Jersey.
Theo Wujcik Ed Ruscha; Robert Rauschenberg (from the Mentors series) (two works) 1977, 1996 etching 28 h x 31.5 w in (71 x 80 cm) 30.5 h x 41.75 w in (77 x 106 cm) Signed and dated to lower right of Ed Ruscha ‘Theo Wujcik 1996’ with blindstamp. This work is number 25 from the edition of 30 in Roman numerals apart from the edition of 30 published by Graphicstudio, University of South Florida, Tampa. Signed, dated and numbered to lower left of Robert Rauschenberg 'Theo Wujcik 39/42 1977'. This work is number 39 from the edition of 42. Sold with a digital copy of the print documentation for Ed Ruscha from Graphicstudio. This work will ship from Los Angeles, California.
Theo Wujcik, ALEX KATCZ Etching, Signed Edition. (Lower Right Corner, 4/7). Condition: Excellent. Dimensions: Height - ", 30.75, Width - 42.25". Provenance: Miami Estate. Please note the absence of a Condition Report does not imply that there are no condition issues with this lot. Please contact us for a detailed Condition Report. It is the Buyer's responsibility to inspect each lot and deem their own opinions on Condition, Description, Provenance, and Validity before purchasing. Please make an appointment to preview or ask for Condition Reports. Condition Reports are rendered as an opinion by the staff of the Auction House and not as statements of fact. REMEMBER ALL SALES ARE FINAL AND ALL ITEMS ARE SOLD AS-IS, WHERE IS.
Artist: Theo Wujcik, American (1936 - 2014) Title: Jim Dine from the Mentors Series Year: 1976 Medium: Etching, signed and numbered in pencil Edition: 19/40 Image Size: 16.5 x 21 inches Frame Size: 28 x 32.5 inches Description: Realist etching by Theo Wujcik from his series of his mentors in the art world.
Artist: Theo Wujcik, American (1936 - 2014) Title: James Rosenquist from the Mentors Series Year: 1976 Medium: Etching, signed and numbered in pencil Edition: 19/40 Image Size: 16.5 x 21 inches Frame Size: 28 x 32.5 inches Description: Realist etching by Theo Wujcik from his series of his mentors in the art world.
Theo Wujcik American, (1936 - 2014) Portrait of James Rosenquist, 1972 lithograph Biography from the archives of AskArt: Theo Wujcik—punk, professor, painter, printmaker—a man unchained by convention who lived to his own beat. Recognized for his meticulous silverpoint* portraits, and for dazzling, fragmented paintings, Wujcik, the man, and the artist were often misunderstood. Local press created the myth of the Punk Professor, and often labels such as Pop artist, partier, ephemeral, and ironic were applied to him and to his work. Much like a metaphor from his chain-link fence motif, this often posed a barrier to his true artistic talent and gentle nature. Theo Wujcik (1936–2014) was born and raised in Detroit, Michigan. He was the ninth of ten children of Polish immigrants, Anna and Stanly Wujcik. As a child, Theo was constantly drawing. In 1954, he dropped out of the technical high school, and joined the Army Corps of Engineers and was stationed in France. While in the service, he created the posters for upcoming events and movies and was encouraged to return to New York to study art on the G.I. Bill. Attempts at school in Chicago proved too difficult as he realized he had never been on his own before and had difficulty with the lack of structure. He decided to try again and moved into a small apartment above a storefront in Detroit. He was determined to become disciplined to take his talents to the next level—something that would become his lifelong pursuit. Wujcik went on to study at the College for Creative Studies (CSS) in Detroit, under the modernist Sarkis Sarkisian, and then at the Creative Graphic Workshop in New York City. He read profusely and continuously studied on his own. He taught at College for Creative Studies prior to postgraduate work at the University of New Mexico, Albuquerque, and with funding from a grant from the Ford Foundation, he went on to train as a master printer at Tamarind Lithography Workshop* in Albuquerque, and in Los Angeles, where he printed for artists such as John Altoon, Ed Moses, and Billy Al Bengston. At Gemini G.E.L. Wujcik also printed for Jasper Johns. Upon his return to Detroit, Wujcik cofounded the Detroit Lithography Workshop with master printer Aris Koutroulis. Wujcik began showing at the Donald Morris Gallery in Detroit, and continued to teach printmaking at CCS through 1970. In 1970, Wujcik moved to Tampa, Florida, to become director of Graphicstudio at the University of South Florida. There, he developed lifelong friendships and collaborations with Ed Ruscha, James Rosenquist, Richard Anuszkiewicz and Larry Bell, among others. During the 1970s, Wujcik's portraits of some of the leading artists of the time, Rosenquist, Ruscha, Anuskiewicz, Johns, Philip Pearlstein, Robert Rauschenberg, Roy Lichtenstein, and others, were shown at Brooke Alexander Gallery in New York, and the Donald Morris Gallery in Detroit. His works were acquired by prestigious institutions and private collections. Collaboration, as a master printer and as an artist, was a necessary and important aspect of his creative process, along with his development of a number of new and highly original printmaking and painting techniques. From 1972 until his retirement in 2003, Wujcik taught drawing, painting, and printmaking at the University of South Florida. During his tenure, he worked closely with his students and built lasting relationships as a number of them went on to successful careers in the art field. Students sought him out and colleagues were inspired by his virtuosity; he was known for his incredible work ethic. In 1979, his artistic focus shifted from drawing and printmaking to painting and mixed media. During this period, he spent time in local punk clubs where he found the music and slam dancing a major source of inspiration for his work. Early in the 1980s, Wujcik began dumpster diving for materials he used in installations, entitled Combustibles. During this time, he and some of his students formed a collective—a collaborative effort—ModoDado—that lasted until 1984. They showed in abandoned buildings, streets, and other alternative locations around the Tampa Bay area, and Miami. He also convinced his close friend, Pop artist James Rosenquist, to join in the events. It was his in-depth conversations and friendship with Rosenquist that led Wujcik to discover his signature chain-link fence motif. The Combustibles were the beginning of his exploration of this idea. But it was happenstance in 1984 that led him to an unraveling roll of fencing on a construction site. The image struck him and the beginning of a long relationship with the chain-link fence motif as a metaphor for exclusion, protection, oppression, etc., began, and a pivotal painting, Tampa Tornado, done that year, marks his transition to painting. Wujcik's chain-link fence motif became a structural device as well as a visual language used to communicate multiple meanings. This motif provided a way of layering paint, story lines, and fragments of memories and ideas. It gave him a tool to explore themes and compositions from great art historical figures with a definitive style of his own. Other inventions of Wujcik's include his origination of the technique of the chisled engraving, a printmaking technique, as well as a hybrid painting/drawing process using charcoal powder and polymer emulsion. He found these techniques, as well as using collage or fragmentation, as vehicles to address contemporary sociopolitical and environmental issues. During the 1990s, Theo explored themes of appropriation, memory, celebrity, heartbreak, and others, and the motif of the chain-link fence, which came and went in his work, eventually becoming more of a graphic device as it was broken, pulled apart, flattened, and further fragmented. From 2000, Wujcik articulated more sociopolitical themes in his work, in addition to personal narratives. These subjects gave him an avenue to more deeply pursue his skills and maturity as a painter. He turned to the streets and dumpsters of Ybor City for subject matter, and found storylines and impulses emanating from discarded debris. His work has often been categorized as Pop, yet, his own brand of Pop, while at times playful and unexpected, was rarely ironic or cynical, departing from the traditional interpretation of the term. Wujcik's work is in numerous museum collections, including the Museum of Modern Art; Whitney Museum of American Art; Los Angeles County Museum of Art; Chicago Art Institute; Detroit Institute of Arts; Tampa Museum of Art; San Francisco Museum of Modern Art; Lowe Art Museum, University of Miami; Polk Museum of Art, Lakeland, FL; Carnegie Museum of Art, Pittsburgh; The Library of Congress; and The National Gallery of Art. He also received numerous awards, including from the Louis Comfort Tiffany Foundation Award*, a Ford Foundation Grant*, an National Endowment for the Arts* Printmaking Fellowship, Richard Florsheim Art Fund, and the Edwin Austin Abbey Memorial Fund for Mural Painting. Wujcik consistently worked to expand his range in subject and content, enlisting an array of styles that do not always conform to limiting categories. He was prolific and experimental up until his death in March 2014. Wujcik's paintings are multilayered in meaning and content, and take time to absorb and are slowly revealed with each viewing. Theo Wujcik was and remains an iconic figure in the Tampa Bay cultural scene and his legacy will hopefully continue to exert an impact on subsequent generations. Source: Website of the Artist, Accessed 2021 * For more in-depth information about these terms and others, see AskART.com. Glossary http://www.askart.com/AskART/lists/Art_Definition.aspx
Theo Wujcik is known for his meticulous silverpoint portraits of some of the leading artists of his time - Anuszkiewicz, Johns, Lichtenstein, Pearlstein, Rauschenberg, Rosenquist and Ruscha, among others. (source: theowujcik.com) Provenance: Brooke Alexander Gallery, New York, New York.
Theo Wujcik is known for his meticulous silverpoint portraits of some of the leading artists of his time - Anuszkiewicz, Johns, Lichtenstein, Pearlstein, Rauschenberg, Rosenquist and Ruscha, among others. (source: theowujcik.com) Provenance: Brooke Alexander Gallery, New York, New York.
Theo Wujcik is known for his meticulous silverpoint portraits of some of the leading artists of his time - Anuszkiewicz, Johns, Lichtenstein, Pearlstein, Rauschenberg, Rosenquist and Ruscha, among others. (source: theowujcik.com) Provenance: Brooke Alexander Gallery, New York, New York.
Theo Wujcik is known for his meticulous silverpoint portraits of some of the leading artists of his time - Anuszkiewicz, Johns, Lichtenstein, Pearlstein, Rauschenberg, Rosenquist and Ruscha, among others. (source: theowujcik.com) Provenance: Brooke Alexander Gallery, New York, New York.
Artist: Theo Wujcik, American (1936 - 2014) Title: Robert Rauschenberg from the Mentors Series Year: 1976 Medium: Etching, signed and numbered in pencil Edition: 19/40 Image Size: 16.5 x 21 inches Frame Size: 28 x 32.5 inches
Artist: Theo Wujcik, American (1936 - 2014) Title: Robert Rauschenberg from the Mentors Series Year: 1976 Medium: Etching, signed and numbered in pencil Edition: 19/40 Image Size: 16.5 x 21 inches Frame Size: 28 x 32.5 inches
Work is titled "Portrait of James Rosenquist," who was a long-time close friend of the artist's from the 1970's on. Wujcik made meticulous silverpoint portraitsportraits of some of the leading artists of the time - Anuskiewicz, Johns, Lichtenstein, Pearlstein, Rauschenberg, Rosenquist and Ruscha, among others. (source: theowujcik.com) Published by Brooke Alexander Gallery, New York, New York.
Artist: Theo Wujcik, American (1936 - 2014) Title: Jim Dine from the Mentors Series Year: 1976 Medium: Etching, signed and numbered in pencil Edition: 19/40 Image Size: 16.5 x 21 inches Frame Size: 28 x 32.5 inches
Silverpoint on cream paper, 1976, signed 'Theo Wujcik' and dated lower right. 18 1/2 x 24 in. (sheet), 23 1/4 x 28 1/2 in. (frame). John Richardson: A Scholar Collects
Lithograph in black on wove paper, 1971, signed, titled, dated and inscribed 'Tampa' in pencil, numbered 2/6. 21 3/4 x 19 1/4 in. (sheet), 26 1/2 x 24 in. (frame). John Richardson: A Scholar Collects
Large etching by Theo Wujcik (American, 1936-2014). Graphic studio blind stamp. Signed and limited in pencil at lower margin. Titled "Paradiso." Sheet measures 30 1/4" X 44". Overall framed size is 46" x 42". Excellent condition.
Pencil on yellow paper, 1976, signed 'Theo Wujcik' and dated lower left, with label from Galerie Biedermann, Munich. 18 1/2 x 24 in. (sheet), 22 3/4 x 28 in. (frame).
WUJCIK, Theo, (American, 1936-2014): "Old Yeller", Pop Art Composition, Oil/Canvas, 90" x 42 1/2", signed verso, dated 1998. Wujcik was a celebrated local artist that also taught at USF and was heavily involved with USF Graphicstudio, working with artists such as Lichtenstein, Rauschenberg, Rosenquist and Anuszkiewicz.
WUJCIK, Theo, (American, 1936-2014): ''Ed Ruscha'' 1996, One color stipple etching, 28.25'' x 31.875'', signed lower right and dated 1996, USF Graphicstudio blindstamp, numbered verso XVII/XXX, unframed. Available from USF new for $2,000.
Artist: Theo Wujcik, American (1936 - 2014) Title: James Rosenquist from the Mentors Series Year: 1976 Medium: Etching, signed and numbered in pencil Edition: 19/40 Image Size: 16.5 x 21 inches Size: Frame Size: 28 x 32.5 inches
Artist: Theo Wujcik, American (1936 - 2014) Title: Philip Pearlstein from the Mentors Series Year: 1976 Medium: Etching, signed and numbered in pencil Edition: 19/40 Image Size: 16.5 x 21 inches Frame Size: 28 x 32.5 inches
WUJCIK, Theo (American, 1936-2014): "Homage to Billy L. Benaston", Lithograph, float mounted, 16.25" X 14", blind stamp in both lower corners, Bradley Cooper Gallery labeled verso, contemporary metal frame, 20.25" X 18.25". Wujick was fueled by experimenting with different concepts and different mediums and is an iconic figure in the Tampa area. His works are held in a variety of prestigious institutions including the likes of the Museum of Modern Art, Whitney Museum of American Art, Los Angeles County Museum of Art, Chicago Art Institute, the Tampa Museum of Art and many others.
Theo Wujcik American (b. 1936) Portrait of Alex Katz, 1978, stipple engraving, edition #20/42, signed, dated and numbered in pencil lower margin, unframed. 23 x 33 inches
Theo Wujcik (American, b. 1936) A group of five prints from The Mentor Series, 1976 mezzotint edition AP 4/7; signed Theo Wujcik and dated (lower left) Each 16 1/2 x 20 3/4 inches.
WUJCIK, Theo, (American, 1936-2014): Pop Art Composition, Oil/Canvas, 90" x 42 1/2", signed verso, dated 1998, thin edge wood frame with bottom of frame missing, easily replaced.
THEO WUJCIK, AQUATINT, #1/7, 9" X 11", 'PILE DRIVER' Pencil signed, dated '64, numbered and titled, matted under glass, framed. Theo Wujcik, American, 1936.
Theo Wujcik (American, b. 1936) Mododado Summer Line K-9 Corridor..., 1981, edition of 40. Signed, numbered and dated "Theo Wujcik 1981 29/40" in pencil l.r., nautilus drystamp l.r. Color lithograph on paper, image/sheet size 30 x 22 1/2 in. , unmatted, unframed. Condition: Deckled edges, unobtrusive soiling and handling creases.
Theo Wujcik (American, b. 1936) Vincent Van Gogh, 1991. Signed and dated "Theo Wujcik 1991" in pencil l.r., Strathmore drystamp l.r. Monotype on paper, image/sheet size 24 1/4 x 22 1/2 in. , unmatted, unframed. Condition: Subtle staining (visible primarily on verso), deckled edges to all but the lower edge, rubs to lower edge and just in from upper edge, pinholes and minor creases at corners.
