The Noland honors Kenneth Noland, whose concentric circles became defining images of the Washington Color School. A visit to Helen Frankenthaler's New York studio in 1953 proved transformative, introducing Noland to her soak-stain technique and setting him on the path toward the luminous target paintings that would establish his reputation.  

A unisex addition to the VU series, the Noland offers a disciplined silhouette, where subtle adjustments in radius, proportion, and contour produce an object of remarkable clarity. Its restrained geometry allows every curve, bevel, and transition to contribute to the composition, much as Noland built extraordinary paintings from the simplest of forms. 

In the rare Rover color story, the Noland is given an altogether different register. The deep green finish suggests the saturated chroma of the artist’s mature canvases, where color appears less applied than absorbed into the surface itself. The effect is both graphic and atmospheric, bringing unexpected richness to one of Jacques Marie Mage's most distilled silhouettes.