Prints & Multiples 
11 January 2023
Prints & Multiples 
268

Joe Goode 1937–2025

Six Lithographs

1969
lithograph in colors on Tevere Liscia image: 16½ h × 15¼ w in (42 × 39 cm) sheet: 23⅝ h × 19¼ w in (60 × 49 cm)
estimate: $4,000–6,000
result: $4,788
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Signed, dated and numbered to lower margin of six works ‘75/75 Joe Goode 69’. This complete portfolio of six works is number 75 from the edition of 75 printed by Fantonigrafica, Venice, Italy and published by Edizioni O, Milan. Sold with an additional Untitled print from the edition of 125 and original sleeve.
provenance: Collection of Baldo and Carla Pellegrini, Edizioni O, Milan | Thence by descent

This work will ship from Los Angeles, California.

print

California x Milan

Edizioni O, Galleria Milano, and Carla Pellegrini

Carla Pellegrini


Active from the late 1960s until 1976, Edizioni O was a Milan-based publishing house specializing in art catalogs and graphics. The company was founded by Baldo Pellegrini, along with with Carlo Monzio and Antony Matthews, following the opening of Galleria Milano in 1964. Edizioni O intended to meet the rising gallery's need for high-level editions providing relevant culture discourse and international appeal. 

Today, Galleria Milano is one of the longest-running institutions dedicated to contemporary art in Italy. First opened in 1928, the gallery closed during World War II before it reopened in the 1960s. At the helm of this renewal was Carla Pellegrini, who served as Galleria Milano's director from 1965 until her death in 2019. Over the course of her career, she organized an estimated 300 exhibitions – including several early shows of California artists Billy Al Bengston, Joe Goode, Ken Price, and Ed Ruscha. As Artforum put it, Pellegrini's exhibitions "reflected a clear political commitment in the range of media, styles, and groups she championed, from avant-garde photography to popular culture and from anthropological research to experimental cinema."

We had to invent a purpose...basically there was nobody telling us to produce paintings. There was no demand for painting. There was nobody interested in it, so we had to make ourselves feel they were important, and that’s basically the way we lived our life.

Joe Goode, on studying at Chouinard

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