“Master Bundle” Marko Spalatin (b.1945), 1969 serigraph/screenprint 30×25, pencil-signed, titled & numbered 39/40.

$2,600.00

“Master Bundle” Marko Spalatin (b.1945), 1969 serigraph/screenprint 30×25, pencil-signed, titled & numbered 39/40.

A rare early serigraph by Croatian-American geometric abstractionist Marko Spalatin, Master Bundle (1969) exemplifies his foundational exploration of modular form, color logic, and spatial illusion. Clean planes of cool blue-gray and green establish architectural depth through precise screenprinting. Pencil-signed, titled, and numbered 39/40—a scarce, early work preceding the celebrated Module series.

Artwork Description

What you’re looking at
Master Bundle presents a rigorously structured configuration of rectilinear solids arranged around a central vertical axis. The composition reads as a stabilized core from which lateral planes project, creating the sensation of weight, suspension, and measured expansion. Unlike the rotational energy of later Module works, this image emphasizes structural clarity and balance.

Style & period
Created in 1969, this work belongs to Spalatin’s early mature period, when his visual language was coalescing from constructivist and hard-edge foundations into the modular systems that would define his career. The restraint and symmetry reflect a disciplined investigation of form before the more complex chromatic mutations of the early 1970s.

Medium & technique (serigraph/screenprint)
Printed as a serigraph using multiple precisely registered screens, the image relies on uniform, opaque color fields and sharply articulated edges. Cool blue-grays anchor the vertical mass, while muted green planes advance and recede through tonal contrast rather than shading. The result is a spatial illusion built entirely from flat color relationships—an essential hallmark of Spalatin’s approach.

Signature & editioning
The print is pencil-signed (lower right), titled (lower left), and numbered 39/40 (lower center). The exceptionally small edition size significantly enhances its desirability, particularly as an early work from 1969.

Conceptual significance / story behind the work
The title Master Bundle suggests consolidation—an early synthesis of ideas Spalatin would later expand across serial works. Here, form operates as a stabilizing armature for color, anticipating his later statements about modules, symmetry, and the interchangeability of positive and negative space. This print reads as a conceptual precursor to the Module, Cube Figure, and Cube Field series.

Marko Spalatin (b. 1945)

Background & training
Marko Spalatin was born in Zagreb, Croatia, in 1945 and immigrated to the United States in 1963. He studied at the University of Wisconsin–Madison, earning a B.S. in Art in 1968 and an M.F.A. in 1971. His formative years coincided with the rise of hard-edge abstraction and the expansion of screenprinting as a primary fine-art medium.

Where he practiced
Spalatin developed his mature practice primarily in Wisconsin, becoming a key figure in the region’s postwar print renaissance. From there, his work entered a wide network of American and European galleries, biennials, and museum collections.

Artistic influences & style
Influenced by constructivism, minimal geometry, and perceptual color theory, Spalatin focused on how flat color can destabilize fixed spatial readings. Symmetry is frequently used as a point of control, allowing subtle chromatic shifts to animate otherwise static forms. His work avoids expressive gesture, favoring clarity, discipline, and optical intelligence.

Importance of early works like Master Bundle
Early serigraphs from the late 1960s are especially valued for showing the genesis of Spalatin’s modular thinking. These works reveal the architectural logic and restraint that later evolved into more complex, polyphonic compositions of the 1970s.

Institutional & collector relevance
Spalatin’s works are held in numerous major museum and public collections worldwide, and his early prints are increasingly appreciated by collectors for their historical importance within postwar geometric abstraction.

Marko Spalatin (Croatian-American, b. 1945), Master Bundle, 1969. Serigraph/screenprint in colors on paper, 30 × 25 inches. Pencil signed, titled, and numbered 39/40. Early geometric abstraction illustrating the foundations of the artist’s modular vocabulary. Provenance: Mitch Morse Gallery to Artfind Gallery, Washington, DC.

Certificate of Value & Authentication

Artist: Marko Spalatin (b. 1945)
Title:Master Bundle
Year: 1969
Medium: Serigraph / screenprint in colors on paper
Dimensions: 30 × 25 inches
Edition: 39/40
Signatures/Marks: Pencil signed, titled, and numbered by the artist
Condition (visual): No visible condition issues noted from available images; in-person inspection recommended
Provenance: Mitch Morse Gallery (acquired in NYC, United States and Europe) → Artfind Gallery, Washington, DC
Authentication: Fully consistent with Spalatin’s documented early serigraph practice

Provenance Chain (Collector Format)

Marko Spalatin (artist) → Mitch Morse Gallery (publisher/agent; acquired in NYC, United States and Europe) → Artfind Gallery, Washington, DC (current owner).

“Master Bundle” Marko Spalatin (b.1945), 1969 serigraph/screenprint 30×25, pencil-signed, titled & numbered 39/40.

A rare early serigraph by Croatian-American geometric abstractionist Marko Spalatin, Master Bundle (1969) exemplifies his foundational exploration of modular form, color logic, and spatial illusion. Clean planes of cool blue-gray and green establish architectural depth through precise screenprinting. Pencil-signed, titled, and numbered 39/40—a scarce, early work preceding the celebrated Module series.

Artwork Description

What you’re looking at
Master Bundle presents a rigorously structured configuration of rectilinear solids arranged around a central vertical axis. The composition reads as a stabilized core from which lateral planes project, creating the sensation of weight, suspension, and measured expansion. Unlike the rotational energy of later Module works, this image emphasizes structural clarity and balance.

Style & period
Created in 1969, this work belongs to Spalatin’s early mature period, when his visual language was coalescing from constructivist and hard-edge foundations into the modular systems that would define his career. The restraint and symmetry reflect a disciplined investigation of form before the more complex chromatic mutations of the early 1970s.

Medium & technique (serigraph/screenprint)
Printed as a serigraph using multiple precisely registered screens, the image relies on uniform, opaque color fields and sharply articulated edges. Cool blue-grays anchor the vertical mass, while muted green planes advance and recede through tonal contrast rather than shading. The result is a spatial illusion built entirely from flat color relationships—an essential hallmark of Spalatin’s approach.

Signature & editioning
The print is pencil-signed (lower right), titled (lower left), and numbered 39/40 (lower center). The exceptionally small edition size significantly enhances its desirability, particularly as an early work from 1969.

Conceptual significance / story behind the work
The title Master Bundle suggests consolidation—an early synthesis of ideas Spalatin would later expand across serial works. Here, form operates as a stabilizing armature for color, anticipating his later statements about modules, symmetry, and the interchangeability of positive and negative space. This print reads as a conceptual precursor to the Module, Cube Figure, and Cube Field series.

Marko Spalatin (b. 1945)

Background & training
Marko Spalatin was born in Zagreb, Croatia, in 1945 and immigrated to the United States in 1963. He studied at the University of Wisconsin–Madison, earning a B.S. in Art in 1968 and an M.F.A. in 1971. His formative years coincided with the rise of hard-edge abstraction and the expansion of screenprinting as a primary fine-art medium.

Where he practiced
Spalatin developed his mature practice primarily in Wisconsin, becoming a key figure in the region’s postwar print renaissance. From there, his work entered a wide network of American and European galleries, biennials, and museum collections.

Artistic influences & style
Influenced by constructivism, minimal geometry, and perceptual color theory, Spalatin focused on how flat color can destabilize fixed spatial readings. Symmetry is frequently used as a point of control, allowing subtle chromatic shifts to animate otherwise static forms. His work avoids expressive gesture, favoring clarity, discipline, and optical intelligence.

Importance of early works like Master Bundle
Early serigraphs from the late 1960s are especially valued for showing the genesis of Spalatin’s modular thinking. These works reveal the architectural logic and restraint that later evolved into more complex, polyphonic compositions of the 1970s.

Institutional & collector relevance
Spalatin’s works are held in numerous major museum and public collections worldwide, and his early prints are increasingly appreciated by collectors for their historical importance within postwar geometric abstraction.

Marko Spalatin (Croatian-American, b. 1945), Master Bundle, 1969. Serigraph/screenprint in colors on paper, 30 × 25 inches. Pencil signed, titled, and numbered 39/40. Early geometric abstraction illustrating the foundations of the artist’s modular vocabulary. Provenance: Mitch Morse Gallery to Artfind Gallery, Washington, DC.

Certificate of Value & Authentication

Artist: Marko Spalatin (b. 1945)
Title:Master Bundle
Year: 1969
Medium: Serigraph / screenprint in colors on paper
Dimensions: 30 × 25 inches
Edition: 39/40
Signatures/Marks: Pencil signed, titled, and numbered by the artist
Condition (visual): No visible condition issues noted from available images; in-person inspection recommended
Provenance: Mitch Morse Gallery (acquired in NYC, United States and Europe) → Artfind Gallery, Washington, DC
Authentication: Fully consistent with Spalatin’s documented early serigraph practice

Provenance Chain (Collector Format)

Marko Spalatin (artist) → Mitch Morse Gallery (publisher/agent; acquired in NYC, United States and Europe) → Artfind Gallery, Washington, DC (current owner).

“MASTER BUNDLE”-

MARKO SPALATIN - Serigraph - Signed & Numbered - 39/40

Image 25-1/2 x 20 inches (including signature and narrow white margin), paper 30-1/2 x 25-1/2 inches.  LIMITED EDITION HAND PULLED & DRAWN ORIGINAL SERIGRAPH, NUMBERED & HAND SIGNED BY ARTIST. From the retired Mitch Moore Gallery Inc, NYC. Unmatted, never framed or displayed. Image area is in very good frameable vintage condition. 

ARTISTS BIO:   Marko Spalatin:  Born in 1945 in Zagreb, Croatia, Marko Spalatin immigrated to the United States in 1963.   He studied at the University of Wisconsin at Madison, and earned a B.S. in Art in 1968 and a M.F.A. in 1971.   He is well known for his colorful geometric designs in the form of limited edition prints and also original paintings. The movement of light through the world and across variegated surfaces and the relationship between them, is one of the focal points of Spalatin's work. Although the paintings are inspired by nature, the specific source is finally not what is important. Spalatin's painting may inspire the viewer to recall the shifting brilliance of sunlight on summer's leaves, the swaying movements of a school of brightly colored tropical fish, the glittering reflections of moonlight on the ocean, or some other dazzling occurrence in nature. However, the viewer's task is not to figure out where a painting comes from, the to experience what it is.   His work is displayed in major museums around the world.  Read more about the artist and see a sampling of his other works on his website.  Search on Marko Spalatin. 

  • ARTIST'S STATEMENT: "My work represents a continuous involvement with abstract geometric forms defined by careful manipulation of color and light. The relationship between form and color within the pictorial field demands a visually symbiotic presence. The challenge revolves around the selection of a form as a vehicle for color, as well as choosing appropriate color and light for that form. This interplay creates a primary spatial illusion, along with secondary effects. I find that precisely defined areas of color, when placed against each other, compete for dominance. This activity, when further accentuated by tonal structure, produces multiple levels of perception. A given area of uniformly applied pigment loses its flat character through simultaneous contract with the surrounding colors. In many cases, the positive and negative spaces within the field become interchangeable. In more complex paintings, when the substructure is a series of repetitive modules, the color-light interplay reveals its polyphonic character. In general, my compositions remain formal and symmetrical in order to be set in motion by unexpected mutations of color and light. In some cases, the careful placement of small areas of saturated color against a backdrop of transitional grays creates an illusion of suspended particles. There is no doubt that in these images in particular, my sense of color and light is subconsciously influenced and sustained by many years of scuba diving in the waters of the Adriatic Sea and the Caribbean. I am intrigued by the relativity of color and by the mystery of light, and I am constantly challenged to explore their potentials. Every painting becomes a self-imposed visual problem, subjectively resolved in search of an objective truth."

  • His prints and paintings have been featured in over 70 solo exhibitions across the US, as well as in France, Croatia, Canada, Lebanon, Italy, and Slovenia, and in numerous group exhibitions in 12 countries. Spalatin’s work is represented in many private, corporate, and public collections, including:

COMMISSIONS AND PERMANENT COLLECTIONS

Museum of Modern Art, New York, NY

Musee d'Art Modern, Paris

Tate Gallery, London

Victoria and Albert Museum, London

Philadelphia Museum of Art, Philadelphia, PA

New York Public Library, New York City

Library of Congress, Washington, D.C.

Brooklyn Museum, Brooklyn, N.Y.

Akron Art Institute, Akron, Ohio

Oklahoma Art Center, Oklahoma City, Oklahoma

U.S. Steel Collection, Pittsburgh, PA

Pittsburgh National Bank, Pittsburgh, PA

Wisconsin Art Foundation

International Graphic Art Society, New York

American National Insurance Company, Galveston, Texas

Chase Manhattan Bank

Lessing J. Rosenwald Collection, Philadelphia, PA

Bibliotheque National, Paris, France

Museum of Contemporary Art-Chicago, Illinois

Metropolitan Museum-Manila, Philippines

Philadelphia Museum of Art-Philadelphia, Pennsylvania

The Butler Institute of American Art-Youngstown, Ohio

Museum of Modern Art-Belgrade, Yugoslavia

Milwaukee Art Museum-Milwaukee, Wisconsin

Lessing J. Rosenwald Collection-Philadelphia, Pennsylvania

Cleveland Museum of Art-Cleveland, Ohio

Elvehjem Museum of Art-Madison, Wisconsin

Museum of Modern Art-Novi Sad, Yugoslavia

Madison Art Center-Madison, Wisconsin

Masur Museum of Art-Monroe, Louisiana

National Arts Club-New York, New York

Albrecht Museum-St. Joseph, Missouri

Billings Art Center-Billings, Montana

National & University Library-Zagreb, Croatia

Rochester Museum of Art-Rochester, New York

Museum of Modern Art-Ljubljana, Slovenia

ONE MAN SHOWS

1971-Galerie Lahumiere, Paris

1971-University of Iowa, Iowa City, Iowa

1971-Madison Art Center, Madison, Wisconsin

1970-Fairwather Hardin Gallery, Chicago, Illinois

1070-Akron Art Institute, Akron, Ohio

GROUP SHOWS

1970-Venice Biennale, Venice, Italy

1970-Workd's Fair, Osaka Japan

1970-Phoenix Gallery, Berkeley, California

1970-New York State Council on the Arts travelling exhibition, in collaboration with the Brooklyn Museum

1970-Munson-Williams-Proctor Institute, Utica, New York

1969-Lincoln Memorial Art Center, Milwaukee, Wisconsin

1969-Madison Art Center, Madison, Wisconsin

1969-The Brooklyn Museum, Brooklyn, New York

1968-American Graphic Workshops Exhibition, Cincinnati, Ohio

AWARDS AND PRIZES

1971-Library of Congress, Washington, D.C.

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