Marco Orsi

Roman Arch - Screen Print by Marco Orsi - 1980s

1980s

Roman Arch (Arch of Settimo Severo) is an original screen print on paper realized by Italian artist Marco Orsi (1926 - 1999). Hand-signed on the lower righ...

Roman Arch (Arch of Janus) is an original screen print on paper realized by Italian artist Marco Orsi (1926 - 1999). Hand-signed on the lower right in penc...

Rome-Porta Settimiana is an original etching artwork realized by the Italian artist Giuseppe Malandrino. Hand-signed by the artist on the lower right in pencil. Numbered in Roman n...

Rome - Colosseum interior is an original screen print on cardboard by Costantino Persiani in 1972. Hand-signed and dated on the lower right. Good conditions. Numbered, edition 127...

Antique print titled 'Arch of Constantine'. Large aquatint of the Arch of Constantine. The Arch of Constantine is a triumphal arch in Rome dedicate...

John Taylor Arms (American, 1887-1953) Arch of the Conca, Perugia etching, 1926 signed, dated lower right: John Taylor Arms, 1926 sight: 15 ¼ by 11 inches frame: 20 by 15 inch...

Beautiful New York subject etching by noted Austrian artist Robert Kasimir (1914-2002). The color etching with aquatint on paper measures 15 3/4"h x 11...

"Casa Marquez" Original Woodblock Print, Signed and Numbered 93/100 Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a closeup on a large stone building, with a landscape reflected in the windows. The building has carved ornamentation in a classical style. There is a bright red sunset in the background behind the building. The title refers to the author Gabriel García Márquez. Signed "Carol Summers" in the lower right corner. Numbered and titled "93/100 Casa Marquez" in the upper right corner. Presented in a silver colored aluminum frame. Frame size: 19.25"H x 23.25"W Paper size: 16"H x 20"W Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts...