Art by Medium: Lithograph

Mono prints with litho on Fabriano paper. Edition of 1

Lithograph realized by Costantino Persiani in 1971. Limited Edition of 120. Excellent condition.

Screen Print realized by Rafael Alberti as a creative reworking of his signature. Published in 1973. Not signed and not numbered.

Untitled is a vintage poster made after Hans Graeder (Mannheim,1919 - Mannheim,1998) in 1969. Offset print. Perfect condition. Hans Graeder (Mannheim,1919 - Mannheim,1998) was a painter, graphic artist and sculptor. As a trained lithographer...

Letter T, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Artist's proof, in pencil on the lower, ...

Letter E, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

Letter E, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

Letter Q, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Artist Proof Good conditions. The art...

Letter U, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

Il Gelo is an Offset and screen print realized by Pouchard in the 1970s. Hand signed on the lower left in pencil Good condition.

Letter J, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

Letter U, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

Letter O, from the Alphabet series,  is a lithograph, realized by Rafael Alberti in 1972. Hand-signed and dated on the lower right margin.  Numbered in pencil on the lower, from an...

"Jungle" is an important, rare color lithograph signed by Carol Summers from the early years of his production. The image offers a landscape of a dark jungle, printed mostly in black ink. In the center, a blue pool of water is shaded by two trees. Summers' technique in this print renders a painterly quality to the image: the grasses and leaves of the scene are all created with playful, energetic swiping motions much like watercolor paint. This technique and the use of fields of color predict the style Summers would adopt in the coming decades, making this an important early work. 30 x 22 inches, artwork Numbered 14 of the edition of 27 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. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Jennifer Losch Bartlett American Dance Festival 1978, 1978 Lithograph on wove paper Pencil signed and numbered 163/150 31 × 23 inches Unframed This limited edition print was designed by Jennifer Bartlett for the American Dance Festival in 1978. It is ; this is the hand signed and numbered limited edition lithograph - not to be confused with the separate poster edition which was not on the same lithographic paper. About Jennifer Bartlett: Jennifer Bartlett (b. 1941, d. 2022) was known for her room-sized installations ranging in medium, that explored her immediate environments including houses, mountains, trees, gardens, and the ocean. Inspired by Minimalism, she started working on square steel enameled plates in 1968 on which she went on to create her most notable works. Rhapsody (1975–1976), a polyptych first installed at Paula Cooper Gallery filling the entirety of the gallery, included hundreds of these painted steel plates. That work is now part of the permanent collection of the Museum of Modern Art, New York. Her work moved from Abstract Expressionism to Minimalism to Conceptualism with some works touching on all at once. Working in two dimensions and occasionally moving to three, her works often started in a controlled, mathematical abstraction and moved to more painterly realism. Bartlett’s first survey exhibition was held in 1985 and traveled to the Walker Art Center, the Brooklyn Museum, and the Museum of Art, Carnegie Institute. In 2006, her early enameled steel plate paintings were surveyed at the Addison Gallery of American Art. Klaus Ottman curated her second traveling survey exhibition in 2013­–14, Jennifer Bartlett: History of the Universe—Works 1970–2011, which traveled to the Pennsylvania Academy of the Fine Arts and the Parrish Art Museum. In 2014, the Cleveland Museum of Art exhibited all three of her monumental plate...

Color lithograph, Edition 25. In Man’s Ruin, a wolf is portrayed as a nurse, two iconic images often seen in tattoo flash. Below the wolf are two brigh...

'K' From 'Hockney's Alphabet' By David Hockney David Hockney is a renowned British artist known for his vibrant paintings and innovative use of technology in art. His work often e...

Lithograph realized by Costantino Persiani in 1971. Limited Edition of 120. Excellent condition.

Screen Print realized by Rafael Alberti as a creative reworking of his signature. Published in 1973. Not signed and not numbered.

Color lithograph, Edition 30 Last Rays is an intensely colorful image that evokes the play of light and reflections caused by the late rays of the evening sun as they rake low acr...

Shusaku Arakawa Historic Dwan Gallery Poster: Presence or the Third Person, 1967 Offset lithograph poster 30 x 22 inches Unframed Rarely found, coveted 19...

Lithograph printed in colours Edition 95 of 99 Signed, numbered and dated on the front Excellent. Minor soft handling creases and faint traces of surface soiling. This does not distr...

Eric Avery Bluebonnet: Texas State Flower, 1988 Lithograph on paper with full margins and deckled edges Hand signed, numbered and titled on the lower front ...

Wise Ass is a lithograph on paper, 9 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 215/275 (there were also 100 Roman and 20 AP). Framed i...

Lithograph printed in colours Edition 95 of 99 Signed, numbered and dated on the front Excellent. Minor soft handling creases and faint traces of surface soiling. This does not distr...

Artist: Katherine Bernhardt Title: Swimmers Year: 2022 Medium: Lithograph on Somerset Velvet White 300gsm Sheet: 23 3/5 × 29 9/10 in (59.9 × 75.9 cm) Edition: 175; signed, numbered, ...

'T' From 'Hockney's Alphabet' By David Hockney David Hockney is a renowned British artist known for his vibrant paintings and innovative use of technology in art. His work often e...

Seasons Quartet II Lithograph AP 6 The fine French BFK Rives paper is 30 X 22 inches and the image is 17 X 17 inches. Seasons Quartet II is one of a series of the four seasons-Blue, ...

Bull Market IV (Ticker Tape) is a lithograph on paper, 6.75 x 9 inches image size. From the edition of 395, numbered 224/275 (there were also 100 Roman and 20 AP), framed in a conte...

Lithograph realized by Costantino Persiani in 1971. Limited Edition of 120. Excellent condition.

Screen Print realized by Rafael Alberti as a creative reworking of his signature. Published in 1973. Not signed and not numbered.

Screen print realized by Franco Gentilini in 1970s. Edition of 125. Hand signed and numbered. Belongs to the Series "Churches".

Screen print realized by Franco Gentilini in 1970s. Edition of 125. Hand signed and numbered. Belongs to the Series "Churches".

Screen print realized by Franco Gentilini in 1970s. Edition of 125. Hand signed and numbered. Belongs to the Series "Churches".

Color lithograph with collage, Edition 20. The artist describes this project: "My recent collaboration with Bud Shark resulted in three images based on classic sailing...

Lithograph Edition 21 of 100 Signed, numbered, dated and titled on the front Mint Published by Texte Zur Kunst

Lithograph realized by Costantino Persiani in 1971. Limited Edition of 120. Excellent condition.

Lithograph realized in 2008. Hand signed and numbered. Edition of 260 prints. Belongs to the Suite "Olympc Games Beijing 2008". Excellent condition. Francesco Clemente's oeuvre s...

Fotofinish is a lithograph realized by Sergio Barletta in 2008. It belongs to the Suite "Olympic Games Beijing 2008" Excellent condition. Hand-signed. Edition of 260.

Screen Print realized by Rafael Alberti as a creative reworking of his signature. Published in 1973. Not signed and not numbered.

PASSING CROWD(Hard Hat) is an original hand drawn lithograph by the NY figurative expressionist painter, Lester Johnson. Printed using hand lithography techniques on archival ARCHES ...

Lithograph in colors on arches paper. Hand signed and numbered by Ivan Schwebel. Edition 115/190. From the "Ten Painters on War and Peace" portfolio. Printed on May 10, 1978 to ...

Artist: Tito Salomoni Title: Toy Boat Medium: Lithograph Signed: Hand Signed Edition: Edition of 200 Measurements: 23" x 29" Frame: This piece is sold UNFRAMED Condition: Excel...

Lithograph realized after Fernand Léger in 1959, on Moulin Richard de Bas paper. Monogrammed in the plate. Image dimension 50x39.5 cm It belongs to the suite "Contrastes", printed ...

Hand signed and numbered. Artwork is in excellent condition. Certificate of authenticity included. Edition of 150. All reasonable offers will be considered.

Lithograph Edition 99 of 100 Signed and numbered on the front Mint, as issued Published by Kaikai Kiki Co. Ltd

Large Shelf Still Life Offset Lithograph Poster 2017 Excellent condition. The back of the print has the artist's name, title, date and exhibition on the reverse. 23 × 23 in (58.5 × 58.5 cm). Notes: Executed in 2017, this piece is from an edition of unknown size and is published on the occasion of Shio Kusaka...

Lithograph realized by Costantino Persiani in 1971. Limited Edition of 120. Excellent condition.

Fotofinish is a lithograph realized by Sergio Barletta in 2008. It belongs to the Suite "Olympic Games Beijing 2008" Excellent condition. Hand-signed. Edition of 260.

Screen Print realized by Rafael Alberti as a creative reworking of his signature. Published in 1973. Not signed and not numbered.

Letter X  from Alphabet series is a lithograph, realized by Rafael Alberti in 1972. Numbered, edition 52/99. Hand-signed.  The state of preservation is very good. The artwork rep...

From: Dresden Suite created at Grafikwerkstatt Through the process of censorship and journaling, artist Rebekah Wilhelm composes masterful images of thought. On her practice the a...

Reply to Stanley Hayter, 1996 Louise Bourgeois Lithograph in colours, on Rives BFK paper Initialed and inscribed 'Solo Imp. 2' A printer's proof aside from the edition of 70 Publis...

This offset lithograph in colors from the Project for Central Park, New York City, was created by the artist in 2004. One of 300 hand-signed by the artist in pencil from an unnumbere...

'L' From 'Hockney's Alphabet' By David Hockney David Hockney is a renowned British artist known for his vibrant paintings and innovative use of technology in art. His work often e...

Letter X  from Alphabet series is a lithograph, realized by Rafael Alberti in 1972. Numbered, edition 40/99. Hand-signed.  The state of preservation is very good. The artwork rep...

'D' From 'Hockney's Alphabet' By David Hockney David Hockney is a renowned British artist known for his vibrant paintings and innovative use of technology in art. His work often e...

Malcolm Morley creates paintings that demonstrate deft technique, careful color choices, and gestural brushstrokes. Best known for his photorealism (although he prefers the term "su...

Christo and Jeanne-Claude are two of the most ambitious and audacious artists of the 20th century. Their projects, both realized and proposed, are stunning examples of land art, in...

Color lithograph with aluminum leaf, Ed. 30 In "Scattered Seed I" and "Scattered Seed II" her new lithographs, Liu has juxtaposed portraits of late 19th/early 20th century Chinese prostitutes - derived from photographs of the time - with images of dandelions rendered from close-up photographs she took at national parks and historic sites around the Western US, including Mount Rushmore, Devil...