Sample Artwork Research Report

SUPPORTED EVIDENCE

Untitled (the Red Lens)

Helen Pashgian

asking price

$6,500.00 USD

listing urlOpen artwork listing

Prepared 2026-09-26

CollectRight does not receive a commission, referral fee, or other payment if you purchase the researched artwork.

Artwork Report

ArtistHelen Pashgian

TITLEUntitled (the Red Lens)

YEAR2026

editionEdition of 20

dimensions24 × 24 in (60.96 × 60.96 cm)

MediumPigmented ink print on paper

signature / provenanceSigned by the artist on signature label

sellerThe Lapis Press

IdentityThe exact listing resolves to Helen Pashgian and to the 2026 Red Lens edition published in collaboration with The Lapis Press.

Artist standingHelen Pashgian has a multi-decade, independently documented career in the California Light and Space context, with museum exhibitions, public holdings, representation and continuing institutional activity.

Market activityThe checked market record combines Lapis asking prices for editions with one less-direct Sotheby’s auction estimate for a unique resin sphere.

price positioningThe seller displays a $6,500.00 USD ask for the Red Lens; it sits between the checked Lapis asks of $1,200.00 and $25,000.00, while no directly matching completed sale is established.

Helen Pashgian was born in Pasadena in 1934 and is identified across institutional, gallery and press records as a key figure of the 1960s California Light and Space movement. Her practice uses translucent materials including resin, acrylic and plastics to investigate light and perception; the submitted listing is associated with her through corroborating Lapis, museum and independent records.

COLLECTOR READ

Her lens and sphere works make changes in light, color and viewing position central to how the Red Lens should be read.

Pashgian’s documented career runs from a Caltech artist residency in the late 1960s and early 1970s through major museum exhibitions, public collections, recognition by MOCA and representation by Lehmann Maupin since 2019, with institutional activity continuing through 2026. The record establishes both recognition and active professional relationships, but it is a selected chronology rather than a complete account of every activity.

COLLECTOR READ

Museum exhibitions and collection records show institutional recognition; the Caltech residency and MOCA honor record professional activity; Lehmann Maupin representation and the Lapis collaboration show current relationships. These forms of record should not be treated as interchangeable.

The Lapis Press is a fine-art printing and publishing house founded in 1984 by Sam Francis. It produces limited editions in collaboration with contemporary artists, offers editions through an online store and operates from Culver City, California; its program includes Helen Pashgian as well as artists such as Daido Moriyama, Stephen Shore, Ed Ruscha, Kenturah Davis and Analia Saban.

COLLECTOR READ

The business combines online sales with studio contact at 8563 Higuera Street, Culver City; its relevant role here is publisher and producer of the Pashgian edition, not a documented representing gallery.

The seller states the title, artist, 2026 date, pigmented ink print on paper, 24 × 24 in (60.96 × 60.96 cm), Edition of 20 and signing on a signature label. The checked listing materials do not establish that a certificate or condition report accompanies this particular order.

The Red Lens is the third Lapis Lens edition, following Untitled (the Orange Lens), 2024 and Untitled (the Green Lens), 2024. The shared naming and publisher presentation establish a defined edition sequence rather than only a recurring red circular motif.

COLLECTOR READ

The Lapis artist overview is the concrete reference placing this print in the sequence of three Lens editions; the relationship is publisher-defined, not an assertion of exceptional rarity for this copy.

This is an editioned pigmented ink print on paper, Edition of 20, associated with Helen Pashgian and produced in collaboration with The Lapis Press. The established process is a pigmented ink print; the edition size does not establish screenprinting, lithography, etching or another process, and the public record does not identify a separate printer or fabricator.

COLLECTOR READ

The published 24 × 24 in (60.96 × 60.96 cm) measurement is the print’s stated overall size; paper specification, mounting method and any support or glazing still need to be confirmed before moving or displaying it.

The Red Lens edition is Edition of 20. The seller states that the edition uses a signature label, but the public records do not publish the submitted copy’s number within the run, such as 1/20 or 5/20, and provide no catalogue reference.

COLLECTOR READ

Ask for the individual copy number, the certificate and a photograph or document tying the signature label to the print delivered; keep the seller’s exact edition and signature wording on the invoice.

The recorded object is a 24 × 24 in (60.96 × 60.96 cm) pigmented ink print on paper. The printed surface and paper support make planar distortion, edge and corner damage, abrasion, staining, fading, moisture or pressure damage, and the condition of the signature label the first inspection priorities. Because the listing does not state framing or mounting, any mount, glazing, backing or hinge should also be confirmed before transport or display.

Certificates

No example-specific certificate record is established in the checked listing materials.

The edition is identified publicly, but a certificate or certificate commitment for this particular order still needs to be confirmed.

Signatures

The seller states that the edition is signed by the artist on a signature label; inspection of the label was not established.

This is a seller statement about the edition’s signing practice, not an inspection record for the offered print.

Edition records

The edition record is Edition of 20; the individual copy number is not stated.

The edition size establishes the run, not where this particular example sits within it.

Provenance information

No example-specific provenance chain is established.

The Lapis publication and edition records identify the work and seller but do not document ownership transfers for this copy.

Prior ownerships

No prior ownership record for this example is established.

No transfer invoice or other prior-owner document identifying the submitted print was found in the checked public record.

Request the certificate and any invoices or transfer records identifying this copy; the public record establishes Edition of 20 and the seller’s signature-label statement, but it does not establish an ownership chain for the individual print.

The checked record presents the work as the standard Red Lens Edition of 20 signed on a signature label. It does not identify a dedication, artist’s proof, special state, unusual paper, unique color variant or exceptional provenance; whether any undisclosed special history exists remains open.

2026EMMA’s In Search of the Present: On Rootlessness includes Helen Pashgian in its 14 March 2026–7 February 2027 institutional exhibition.

2025Kunsthalle Bielefeld’s All light presents Pashgian’s work in a 2025–2026 institutional exhibition and interprets her cast-resin Light and Space practice.

2024The Getty Center presented Lumen: Helen Pashgian from 6 August 2024 to 30 March 2025, including her lens work in the museum’s PST ART program.

2023LACMA’s 2023 Light, Space, Surface: Selections from LACMA’s Collection presented Pashgian’s work from the museum’s collection.

2022LACMA’s 2022 Art+Film Gala honored Helen Pashgian, while the documented Light and Space exhibition record shows continuing public activity that year.

2021Lehmann Maupin presented Helen Pashgian: Spheres and Lenses in New York from 4 November 2021 to 8 January 2022, her first New York solo exhibition since 1971 and first with the gallery in the United States.

2014Helen Pashgian: Light Invisible was presented at LACMA from 30 March to 29 June 2014 and traveled to the Frist Center for the Visual Arts from 26 September 2014 to 4 January 2015.

1970–1971Pashgian was an artist-in-residence at Caltech in the late 1960s and early 1970s, working with polyester resins in its art-and-technology environment.

Lehmann Maupin announced representation of Helen Pashgian in February 2019 and has presented her work since then, including Spheres and Lenses in 2021–2022. The Lapis Press has a separate documented relationship as printer and publisher of three limited print editions, including the Red Lens; the checked sources do not call it Pashgian’s representing gallery.

COLLECTOR READ

The Lapis collaboration explains why this offer comes through the press, but it does not establish a first sale, resale or consignment structure, and the checked record does not establish Lehmann Maupin’s current exclusivity.

LACMA collection records identify Helen Pashgian works including Untitled, 1968–1969 and Untitled, 2016, and SFMOMA’s artist record identifies an Untitled work ca. 1967 in its collection. Lehmann Maupin additionally lists Cornell University, Laguna Beach Museum of Art, Norton Simon Museum, Orange County Museum of Art, Palm Springs Art Museum, Pomona College Museum of Art, Portland Art Museum, Santa Barbara Museum of Art and the UCI Institute and Museum for California Art as public collections holding her work.

COLLECTOR READ

The LACMA and SFMOMA statements are institution-published collection records naming works; the additional institutions come from a gallery biography. None of these records places the offered Red Lens print in a public collection.

Helen Pashgian, published by LACMA/Prestel in 2014, is established as the catalogue associated with the LACMA exhibition Light Invisible, whose digital record includes an interview with Pashgian. The artist’s CV also lists Helen Pashgian: Spheres and Lenses, 2021, and Light + Space, 2022. Those latter entries establish publications in the bibliography, but not the contents of texts that were not directly read.

COLLECTOR READ

The 2014 catalogue works at artist and exhibition level; the 2021 and 2022 entries are bibliographic records here. No named publication is established as addressing this individual 2026 Red Lens print directly.

These are displayed Lapis asking prices, not amounts buyers have paid. Green Lens is a larger 36 × 36 in (91.44 × 91.44 cm) Edition of 7 plus 3 artist’s proofs at $25,000.00; Blue Sphere and Red and Green Sphere are 25 × 25 in (63.5 × 63.5 cm) Edition of 50 plus 5 artist’s proofs at $1,200.00 each. The Red Lens is 24 × 24 in (60.96 × 60.96 cm), Edition of 20, and all amounts are published in USD. The separate Sotheby’s estimate is not part of this asking-price range.

$6,500.00 USD$1,200.00 USD$25,000.00 USD

Price-position

The $6,500.00 USD ask sits between the same seller’s $1,200.00 asks for Blue Sphere and Red and Green Sphere and its $25,000.00 ask for the larger Green Lens edition. A separate Sotheby’s record carries a $55,000–$75,000 estimate for a unique resin sphere, but that is an auction estimate for a different object, not a completed sale or a like-for-like print comparison.

WORK	SCALE	PRICE	COMPARABILITY
Untitled (the Green Lens), 2024	36 × 36 in (91.44 × 91.44 cm)	USD $25,000.00	series set
Blue Sphere, 2022	25 × 25 in (63.5 × 63.5 cm)	USD $1,200.00	less direct
Red and Green Sphere, 2022	25 × 25 in (63.5 × 63.5 cm)	USD $1,200.00	less direct

The axis is drawn from three other Lapis asking prices: two Sphere editions at $1,200.00 USD and the Green Lens at $25,000.00 USD, with the submitted $6,500.00 USD ask marked between them. The Green Lens is the closest series comparison, but it is larger and has a smaller edition; the Sphere offers differ in body of work, scale and edition size. These are one seller’s offers, not a completed-sale market.

The checked Lapis sample offers Pashgian prints from $1,200.00 to $25,000.00 USD, including the Red Lens at $6,500.00 USD. Sotheby’s Lot 13, a different unique 2020 cast industrial epoxy sphere, carried a $55,000–$75,000 USD estimate and closed on 8 February 2021, with no published result shown on the lot page. Together these records support an active, institutionally recognized artist market, but the sample is too small and mixed in medium, scale and edition structure to establish one universal level.

Date	Auction house	Lot	Estimate	Published result	Comparability
2021-02-08	Sotheby’s	Lot 13	$55,000–$75,000 USD	No published result shown on the lot page	less direct

One less-direct auction record, with no published result

Sotheby’s Lot 13 in the 80th Anniversary Charity Art Auction to Benefit the Norton Museum of Art was Helen Pashgian’s Untitled, executed in 2020: a unique cast industrial epoxy sphere with acrylic insert. The lot closed on 8 February 2021 with a $55,000–$75,000 USD estimate, but no published result is shown on the lot page. No directly matching auction result for the Red Lens edition is established; a seller-issued copy record or certificate would provide evidence the public auction record does not.

The Sotheby’s record dates to 8 February 2021 and gives a $55,000–$75,000 USD estimate, but no result. It is less direct than the offer because the lot is a unique cast industrial epoxy sphere with an acrylic insert, while the submitted work is a 24 × 24 in (60.96 × 60.96 cm) pigmented ink print on paper, Edition of 20. The estimate should not be read as a sale price or converted into a value for the Red Lens.

Helen Pashgian’s institutional exhibition record includes EMMA’s 2026–2027 In Search of the Present: On Rootlessness, Kunsthalle Bielefeld’s 2025–2026 All light, the Getty Center’s 2024–2025 Lumen: Helen Pashgian, and the LACMA-organized Helen Pashgian: Light Invisible, presented at LACMA in 2014 and the Frist Art Museum in 2014–2015. These are artist-level presentations; none is an exhibition record for the submitted Red Lens print.

LACMA’s collection records name Helen Pashgian’s Untitled, 1968–1969 and Untitled, 2016, and SFMOMA’s public artist record lists an Untitled work ca. 1967 in its collection. A Lehmann Maupin biography additionally names public collections at Cornell University, Laguna Beach Museum of Art, Norton Simon Museum, Orange County Museum of Art, Palm Springs Art Museum, Pomona College Museum of Art, Portland Art Museum, Santa Barbara Museum of Art and the UCI Institute and Museum for California Art. No record establishes that an institution holds the submitted Red Lens print.

Pashgian’s museum exhibitions and holdings give the Red Lens meaningful context within a practice concerned with light, color and perception, and the Lapis record presents the print as a translation of her lens effects. That supports the artist-level context for the edition, but no institution-specific record names this Red Lens copy.

COLLECTOR READ

The institutional record answers a question about Pashgian’s practice and other identified works; it does not settle this copy’s condition, ownership or resale history. Ask for an object-specific collection or exhibition record if one is claimed.

Untitled (the Red Lens), 2026 is presented in The Lapis Press online exhibition dated 1 January 2026–1 January 2027. This identifies the exact work at seller-hosted online presentation level; no independent physical gallery or museum exhibition of the submitted copy is established.

COLLECTOR READ

The record stands at work level and does not identify a particular impression. A dated loan entry, installation checklist or copy number would be needed to connect an exhibition claim to the print offered here.

Andrea K. Scott’s 2021 New Yorker review places Pashgian within the late-1960s Los Angeles Light and Space context and describes her resin and acrylic sculptures as perceptual works that change through viewing and movement. Wallpaper*’s 2022 profile presents the lens and sphere works as a sustained investigation of light, color, disappearance and perceptual experience, while Getty and LACMA texts provide institutional context for the relation of light, material and viewing. Full access to every publication listed in the artist’s CV, including the 2021 Spheres and Lenses monograph, was not established.

The Lapis works record, exhibition overview and press release identify Untitled (the Red Lens), 2026 by title, artist, year, medium, size, Edition of 20 and signature statement, and describe its continuation of Pashgian’s exploration of color and optical perception. No catalogue number or independent critical text specifically about this print was established. A catalogue entry or critical text identifying the edition, and a document tying it to the individual copy, remain to be obtained.

The Lapis Press describes the Red Lens as translating the optical and perceptual effects of Pashgian’s lens sculptures into a two-dimensional print on paper, with color vibration and after-image effects central to the experience. Within the Lapis program it is the latest of three Lens editions, following Orange Lens and Green Lens, so it extends an identified body of editioned print translations rather than standing as an isolated print.

COLLECTOR READ

This is primarily the Lapis Press’s account of the edition, supported by broader Getty, LACMA and Kunsthalle context for Pashgian’s light- and perception-based practice; it describes the relationship in imagery and ideas, not another work’s ownership history.

The Lapis Press was founded in 1984 by Sam Francis and operates as a fine-art printing and publishing house producing limited editions with contemporary artists. It offers editions through an online store from its Culver City, California address, and for this purchase acts as the publisher, printer and online offeror of the Helen Pashgian Red Lens edition.

COLLECTOR READ

Confirm which legal entity will issue the invoice and whether the print is held at the Culver City studio or another venue for viewing; the business history is background, not a substitute for order-specific terms.

The Lapis Press collaborated with Helen Pashgian on three limited print editions, including Untitled (the Red Lens), 2026. The checked sources establish a publishing and production relationship, not representation by Lapis; Lehmann Maupin is the gallery relationship independently documented from 2019. For this particular offer, whether the transaction is a first sale, resale or consignment remains unresolved.

The checked offer establishes The Lapis Press as seller and displays a $6,500.00 USD price, but it does not set out a dedicated return period, shipping arrangement, insurance or risk allocation, delivery estimate or collection option, or claims period for this purchase.

COLLECTOR READ

Request the returns, inspection, risk-transfer, transit-damage and description-mismatch terms in writing, together with the shipping and insurance arrangements for this order; a general policy, if supplied, should be kept distinct from what the seller confirms for this sale.

The listing identifies the work as Untitled (the Red Lens), 2026 by Helen Pashgian.
The recorded medium is pigmented ink print on paper.
The published overall size is 24 × 24 in (60.96 × 60.96 cm).
The edition is Edition of 20.
The seller states that the work is signed by the artist on a signature label.
The seller displays a $6,500.00 USD asking price.
The public edition record describes the Red Lens as the latest of three Lapis Lens editions and as a collaboration with Helen Pashgian.

The individual copy number within Edition of 20 is not stated in the listing materials checked.
A certificate or certificate commitment for this order is not established in the listing materials checked.
A dated condition report or condition images for the offered copy are not established.
An example-specific provenance or prior-ownership record is not established.
A catalogue reference for the Red Lens edition or submitted copy is not stated.

For this 24 × 24 in (60.96 × 60.96 cm) pigmented ink print on paper, inspect the printed surface and paper support for planar distortion, edge and corner damage, abrasions, stains, fading, color shifts, moisture or pressure damage, and examine the signature label. Because framing is not stated, confirm whether the print is loose, mounted, glazed or framed and inspect the backing, hinges and glazing before transport or display. A dated condition report with recto, verso, edges, label and presentation views is the most useful record.

COLLECTOR READ

Obtain dated photographs and a written condition account before transport, together with the surface, mounting or glazing specification. These priorities follow from the recorded paper-print construction and are not an inspection of this example.

career

Institutional and historical records establish Pashgian’s continuing professional activity from the Caltech residency through 2026 exhibitions.

Representation

Lehmann Maupin’s representation of Pashgian is documented from 2019; Lapis’s relationship is documented as publisher and collaborator rather than representing gallery.

Edition

The submitted object is a pigmented ink print on paper, Edition of 20, in the named Red Lens sequence, with the seller stating a signature label.

Market

The $6,500.00 USD ask sits between observed Lapis asks of $1,200.00 and $25,000.00, while a separate unique resin sphere carries a higher auction estimate without a published result.

What establishes Pashgian’s market activity?

The Lapis offers and Sotheby’s auction record establish public activity around Pashgian, but the available records combine editioned prints with a unique resin sphere and do not form a complete market history.

Is this object exceptional within that market?

The Red Lens is an Edition of 20 in the named Lens sequence, distinct from the Sphere editions; no dedication, proof status, unique variant or special history is established for this copy.

Is there published price evidence?

The offer states $6,500.00 USD. Other Lapis asks are $1,200.00 and $25,000.00, while the Sotheby’s record gives a $55,000–$75,000 USD estimate for a different unique sphere and no published result; none is a same-edition completed sale.

Does the seller regularly handle the artist?

The Lapis Press has documented collaboration with Pashgian on three limited print editions and continues to offer them online. Its role is established as publisher and producer, not as a documented representing gallery.

The offered object is a clearly identified 2026 pigmented ink print on paper by Helen Pashgian, Edition of 20, measuring 24 × 24 in (60.96 × 60.96 cm), with the seller stating that it is signed on a signature label and offering it for $6,500.00 USD. Pashgian’s institutional and professional record is strong, and the Red Lens has a defined place in the Lapis Lens sequence. The purchase still turns on the individual copy number, certificate, condition, framing, provenance, catalogue reference, transaction structure and written purchase terms; obtain those records before treating the public description as a complete account of this example.

This report connects public evidence about the submitted Untitled (the Red Lens), 2026 listing with Helen Pashgian’s artist record, The Lapis Press, comparable market records, documentation gaps and preservation priorities. It separates claims about the artist, edition and seller from claims about this individual copy and identifies what remains to be requested. It is not an appraisal, authentication, title guarantee, physical inspection or purchase recommendation, and it does not establish facts that the public record does not carry.

Collector Decision Checklist

Confirm the individual copy number and signature label

Request the number within Edition of 20 and a photograph of the signature label to connect the seller’s edition statement to the print delivered.

Obtain the certificate and object-specific records

Request written confirmation of whether a certificate accompanies the order, together with any catalogue reference, provenance or prior-ownership information for the individual copy.

Request a dated condition and presentation report

Obtain recto, verso, edge and signature-label photographs plus any frame, glazing or mounting views to resolve the condition and presentation gaps before transport.

Confirm the transaction structure and invoice

Ask the seller to state in writing whether this is a first sale, resale or consignment and which legal entity will issue the invoice.

Agree shipping, insurance, returns and claims terms

Request the current delivery, insurance, risk-transfer, returns and claims terms for this order, including how transit damage or a description mismatch must be reported.

Sources

The Lapis Press — Submitted listing: Helen Pashgian, Untitled (the Red Lens), 2026seller listing

Identifies the exact Red Lens listing, seller, work title and displayed offer.

The Lapis Press — Buy Online / Available Editionsseller listing

States the exact Red Lens offer, $6,500.00 price, 24 × 24 inch size, medium, Edition of 20 and the other Pashgian offers used for comparison.

The Lapis Press — Helen Pashgian Works / artist overviewseller listing

Identifies the Red, Green and Orange Lens editions, their relationship, and the Red Lens title, date, medium, size, edition and signature statement.

The Lapis Press — Untitled (the Red Lens), 2026 by Helen Pashgian — Overviewseller listing

Presents the exact Red Lens work in a dated Lapis online exhibition and describes its edition context and perceptual account.

The Lapis Press — The Lapis Press Announces New Edition with Helen Pashgianseller listing

States the Red Lens edition’s title, 2026 date, pigmented ink print on paper medium, size, Edition of 20 and collaboration with Pashgian.

Lehmann Maupin — Helen Pashgian Biographygallery dealer

Provides Pashgian’s biography, practice, selected career, institutional record, collections and the Lehmann Maupin relationship.

Los Angeles County Museum of Art — Helen Pashgian, Untitled, 2016institution

Documents LACMA’s holding of Untitled, 2016 and its associated object details.

Los Angeles County Museum of Art — Helen Pashgian, Untitled, 1968–1969institution

Documents LACMA’s holding of Untitled, 1968–1969 and its curatorial context.

San Francisco Museum of Modern Art — Helen Pashgian artist pageinstitution

Identifies SFMOMA’s collection record for an Untitled Pashgian work ca. 1967.

J. Paul Getty Museum — Lumen: Helen Pashgianinstitution

Documents the Getty’s 2024–2025 Lumen: Helen Pashgian exhibition and its lens-work context.

EMMA — In Search of the Present: On Rootlessnessinstitution

Documents EMMA’s 2026–2027 institutional group exhibition including Pashgian.

Kunsthalle Bielefeld — All lightinstitution

Documents Kunsthalle Bielefeld’s 2025–2026 All light exhibition and its interpretation of Pashgian’s resin and Light and Space practice.

Los Angeles County Museum of Art — Helen Pashgian Digital Cataloginstitution

Provides the 2014 LACMA digital catalogue record and its interview and career-context description.

Frist Art Museum — Helen Pashgian: Light Invisibleinstitution

Documents the LACMA and Frist presentation dates and institutional context of Helen Pashgian: Light Invisible.

Museum of Contemporary Art, Los Angeles — Distinguished Women in the Artsinstitution

Records MOCA’s 2013 Distinguished Women in the Arts recognition of Helen Pashgian.

California Institute of Technology — Passing in the Hallway: Art and Technology at Caltech, 1968–1972institution

Documents Pashgian’s Caltech artist residency and work with polyester resins in the late-1960s/early-1970s art-and-technology environment.

The New Yorker — Helen Pashgianpress

Provides independent critical writing on Pashgian’s Light and Space context, resin and acrylic practice, and perceptual viewing experience.

Wallpaper* — Art icon Helen Pashgian: making art is like a divine itchpress

Provides profile writing on Pashgian’s lens and sphere works, light, color, disappearance and renewed recognition.

Sotheby’s — Helen Pashgian, Untitled, 80th Anniversary Charity Art Auctionauction

Documents Sotheby’s Lot 13, its unique 2020 resin sphere, $55,000–$75,000 USD estimate, 8 February 2021 closing date and absence of a published result.

Sotheby’s — The Lapis Pressgallery dealer

Independently describes The Lapis Press’s 1984 founding and collaborative limited-edition program.

The Lapis Press — Aboutseller listing

States The Lapis Press’s 1984 founding, fine-art printing and publishing model and collaborative edition program.

The Lapis Press — Contactseller listing

Provides the Culver City address and studio contact information for the seller.

Lehmann Maupin — Announcing representation of Helen Pashgiangallery dealer

Documents Lehmann Maupin’s February 2019 announcement of representation of Helen Pashgian.

Lehmann Maupin — Spheres and Lensesgallery dealer

Documents Lehmann Maupin’s 2021–2022 Spheres and Lenses exhibition and its first-New-York-solo context.

The Lapis Press — Untitled (the Green Lens), 2024 overviewseller listing

Documents the 2024 Green Lens edition, its medium, edition structure and continuity with Pashgian’s light-perception practice.

Pomona College Museum of Art — reproduction of ArtNews representation announcementinstitution

Provides an institutional reproduction of the 2019 representation announcement and related career context.

ArtNews — Lehmann Maupin Now Represents L.A.-Based Light and Space Artist Helen Pashgianpress

Provides independent press reporting of Lehmann Maupin’s 2019 representation announcement.

The Lapis Press — Helen Pashgian CVseller listing

Provides Pashgian’s published career chronology and selected bibliography.

Los Angeles County Museum of Art — Helen Pashgian: Light Invisible exhibition guideinstitution

Provides the LACMA and Frist Light Invisible exhibition dates and selected career chronology.

Scope & Limitations

CollectRight researches public sources available at the stated date. Seller and artist statements remain distinct from independent records. Claims are limited to the evidence identified in the report; a missing record is not proof that none exists. CollectRight does not accept payment from artists or sellers to influence findings, or receive a commission, referral fee or other payment from a purchase. Artwork Research is not an appraisal, investment recommendation, brokerage or financial service. It does not predict appreciation, resale value or investment performance.

Public records and submitted images cannot inspect the physical artwork or verify that the delivered object matches the listing. They cannot independently establish condition, restoration, ownership, legal title, signatures or the contents of a supplied certificate. Documents and photographs must be matched to the particular example being purchased.

CollectRight may inspect image provenance and synthetic-media signals. These concern the image analysed, not how the physical artwork was made. Detection may miss or misidentify alterations and cannot certify the object’s authenticity. CollectRight uses a variety of methods to fetch data, research and write the reports, including the use of artificial intelligence where applicable. While we strive to be as accurate as possible, artificial intelligence can make mistakes. If you have any questions or concerns about your report email studio@collectright.co

01Research Snapshot

02Identity and Footprint

03Artwork Context

04Artist Record

05Market & Price

06Auction Market History

07Institutional Standing

08Exhibition & Literature History

09Seller & Transaction Context

10Documentation & Preservation

11Collector Decision Summary