Art by Medium: Monotype

Bold portrait monotype with striped blue background by American artist Kismine Varner, 1990. Signed in pencil lower right. Original artwork on paper displayed on a white mat with ...

Funny Business Monotype print Natasha Karpinskaia's paintings are characterized by their vibrant colors, bold shapes, and dynamic compositions. She uses a variety of media, includin...

A vibrant and highly collectible original monotype by Wilma Fiori, this signed and dated work exemplifies the artist’s mature abstract language and her importance within Denver’s lat...

This minimalist patterned collage calls to mind West African indigo textiles, Japanese Shibori fabric or perhaps the work of Ellsworth Kelley. The pattern mounted on wood panel was ...

This framed work is one-of-a-kind colored pencil & collage on archival pigment print. The work itself is 20" x 16", and it is framed to 26" x 20" in a contemporary, simple white wood...

A large, unique print on canvas by American Artist, Mitch Lyons (1938-2018), signed lower right. The canvas is unstretched and will be shipped rolled in a tube.

This striped collage in all shades of indigo calls to mind Indonesian or Guatemalan woven textiles. The pattern mounted on wood panel was made by hand-printing, then then slicing int...

John Walker British (b. 1939) Salsipuedes Forms (1991) Monoprint relief print with dry pigment, monotype Hand signed lower right Provenance: Garner Tullis Workshop A monotype is literally one of a kind; it is not a method of multiplication. The artist makes an image with a liquid medium on wood, metal or glass, and paper is laid over the moist image and bonded under pressure the paper is then removed bringing with it the transposed monotype. John Walker (born 1939) is an English painter and printmaker. He has been called "one of the standout abstract painters of the last 50 years." Walker studied in Birmingham at the Moseley School of Art, and later the Birmingham School of Art and Académie de la Grande Chaumière in Paris. Some of his early work was inspired by abstract expressionist art and post-painterly abstraction, and often combined apparently three-dimensional, sculptural shapes with "flatter" elements. These pieces are usually rendered in acrylic paint. In the early 1970s, Walker made a series of large Blackboard Pieces using chalk first exhibited at the opening of Ikon Gallery, in Birmingham Shopping Centre, Birmingham in 1972 and the Juggernaut works which also use dry pigment. From the late 1970s, his work marked allusions to earlier painters, such as Francisco Goya, Edouard Manet and Henri Matisse, either through the quoting of a pictorial motif, or the use of a particular technique. Also during this time, he began to use oil paint more in his work. His paintings of the 1970s are also notable for what has come to be termed canvas collage, the application of glued-on, separately painted patches of canvas to the main canvas. Beginning in the 1970s John Walker was one of the most influential and imitated painters working in the UK; he exhibited alongside Andy Warhol and Roy Lichtenstein, represented his country at the 1972 Venice Biennale, had extensive survey shows at both the Tate and Hayward galleries and was nominated for the Turner Prize in 1985. After spending some time in Australia, Walker got a position at the Victoria College of the Arts in Melbourne. He produced the Oceania series around this time which incorporates elements of native Oceanic art. Walker is currently the head of the graduate painting program at Boston University. Walker won the 1976 John Moores Painting Prize and was nominated for the Turner Prize in 1985. In September 2010, Walker and five other British artists including Howard Hodgkin, John Hoyland, Ian Stephenson, Patrick Caulfield and R.B. Kitaj were included in an exhibition entitled The Independent Eye: Contemporary British Art From the Collection of Samuel and Gabrielle Lurie, at the Yale Center for British Art. His art was influenced by Boston Expressionism. Along with Aaron Fink, Gerry Bergstein, Jon Imber, Michael Mazur, Katherine Porter, Jane Smaldone, John Walker, and Philip Guston. Through Garner Tullis at Experimental Press he met Sean Scully, Friedel Dzubas, Helen Frankenthaler, Sam Francis, William Wiley, and others. Select Group Exhibitions (partial list) 1965 John Moores Liverpool Exhibition. Walker Art Center, Liverpool. 1966 Recent Aspects of British Art. Australia and New Zealand (traveled). 1967 4 Artists. Betty Parsons Gallery, New York. John Walker, Michael Kidner, Bruce Tippett, Michael Tyzack...

Monotype 32 x 25 inches framed

Trees (Trees in Circle) Etching & drypoint with monotype inking, 1953-1955 Signed in pencil An unrecorded trial proof, printed on heavy wove proofing paper at Atelier 17, before the ...

Oil Monotype w/ Wool Fiber, Japanese Paper, Ink Transfer, Clothing Tag, Metal Leaf and Coffee Hand pulled on white BFK Rives Printmaking Paper Edition: Unique

An original diptych monotype by American contemporary artist Kathleen Sherin from the artist's Knot Series. Each monoprint is 40" x 30".

Blue Sky, Beetle Kill

Sarah Amos(Contemporary Australian/American) Untitled Monotype, 1995 Monotype or painting on paper 12 x 9 inches on a 22.25 x 15 inches sheet size, Hand signed and dated lower right Provenance: Garner Tullis Workshop This appears as a abstract expressionist landscape or seacape. A lovely, moody, piece Sarah Amos, originally from Australia, lives in Vermont, and maintains an active International and National exhibition schedule. Sarah left Australia, after receiving a BFA in Printmaking from RMIT, to attend the Tamarind Institute of Lithography in New Mexico. In 1992 she became a certified Tamarind Master Printer in Lithography working with Joyce Kozloff and Barton Lidice Benes . In 1998 Sarah became the Master Printer for the Vermont Studio Center Press until 2008 and during this time she also received an MFA from the University of Northern Vermont. Sarah has been an Adjunct Professor at Dartmouth, Williams and Bennington Colleges teaching Printmaking and Drawing since 2007. She has led workshops on monoprint collagraph printing techniques with Joel Janowitz...

Inscribed "Tiepolo Clouds" at lower left, "A. P." at lower center and signed "Zolita Sverdlove '85" at lower right This monotype is printed on BFK Rives paper

A unique monotype from Wilma Fiori's celebrated Circle Series, this refined abstract composition exemplifies the artist's mature exploration of geometry, balance, and visual rhythm. ...

David Collins was raised in Dallas, received a BFA from the Rhode Island School of Design, and currently lives and works in New York City. Collins has had numerous solo exhibitions i...

Monotype and watercolor on paper 44 x 33 inches framed Eunju Kang’s monotype and watercolor compositions are spare and lively as the artist balances bold color and delicate forms wi...

Monotype 47 x 34 inches framed

Oil Monotype Chine Collé on white BFK Rives Printmaking Paper Hand pulled By Artist on Etching Press 13.5 x 21 inches framed This piece is featured in Bruckner’s 2024 solo exhibiti...

John Beerman, American (1958 - ) - Light and Darkness, Year: 1990, Medium: Monotype, signed and numbered in pencil, Edition: 1/1, Image Size: 6 x 9.5 inches, Size: 13.5 x 22 in....

"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco. 37.25 x 24.88 inches, artwork 48.5 x 35.5 inches, frame Numbered 44 from the edition of 75 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...

Monica DeSalvo’s “The End of Sums" is a mixed-media collage on paper with three abstract acrylic monotypes in green, purple, magenta, and yellow. The triptych-like composition has a ...

Paul Gattuso attended the Art Students League and worked primarily in New York City. There is an old address with a Bronx, Grand Concourse address. Gattus...

Monotype on paper, collage Federica Frati is an Italian artist born in 1977 who lives lives and works in Brecia, Italy. She is graduated from art school Foppa where she learned the ...

Kenneth Noland (1924 – 2010) is one of the most important artists and contributors to the evolution of American abstraction. He is one of the most beloved figures in the Color-Field ...

A monotype created with oil based etching inks and oil paint printed from a plexiglass matrix. Expressive, Figurative image with stark light and shadow.

Under the Abyss is a minimalist unique handmade cyanotype, that combines a contemporary visual language with the uniqueness of an analogue photographic process. This unique monotype...

Color monotype with collaged antique paper. Robert Kushner is a painter and a sculptor. He gained attention in the early seventies as a performance ar...

Clinton Storm was born in Grand Rapids, Michigan and received his bachelor of fine arts from the University of Michigan. He has shown in numerous solo an...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

The pale gray-green of this monotype calls to mind the celadon glaze of Japanese pottery. Each was made using freshly-cut long-stemmed wild iris (iris douglasiana) that grow along th...

"Geometric Astronomy " is a beautiful diptych that combines minimalist geometric abstraction withthe traditional cyanotype process. The artist uses a contemporary visual language roo...

Though this unique monotype looks like a woodcut or linocut, it is not. This is a cyanotype, a kind of lensless photography dating back to the 1800s, but the artist altered the ratio...

Dramatic imagery from FILM NOIR series of black and white monotypes, blending surreal mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett creates r...

Though these pale mint green botanical monotypes resemble woodcuts or linocuts they are actually cyanotypes, a form of kind of photography dating back to the 1800s, but the artist al...

In this contemporary encaustic monotype, layers of pigmented beeswax on lightweight kozo paper create an undulating composition suggesting layers of the earth's crust and geological ...

Monotype on paper Federica Frati is an Italian artist born in 1977 who lives lives and works in Brecia, Italy. She is graduated from art school Foppa where she learned the main arti...

Les cygnes by Georges Manzana Pissarro (1871-1961) Watercolour monotype 49 x 63 cm (19 ¹/₄ x 24 ³/₄ inches) Signed lower left, manzana Executed circa 1920 Provenance: Private collec...

“The Blue Necklace” is a handmade unique cyanotype monotype that reimagines precious jewelry through a minimalist, contemporary lens. Interlocking loops in layered blues form a rhyth...

This elegant original monotype by American artist Wilma Fiori (1929–2019) is a refined example of Mid-Century Modern geometric abstraction. Composed in a sophisticated palette of dee...

Cloud Ocean 3 captures the essence of a shifting tide—fluid, contemplative, and textural. Warinner uses printmaking to evoke the interplay between ocean and atmosphere in soft gradie...

"Incredible String Band" is an original color woodcut, serigraph, and monotype by Carol Summers. It depicts classical architecture surrounding Summer...

Darren Vigil Gray (b. 1959, American) Title: "Glimpse of a Horse" Medium: Monotype Print on Paper Dimensions: 27" x 39" framed Markings: Signed in Pencil LR "Darren Vigil Gray" ...

Color monotype with collage.

Signed and dated "55" in pencil. Otto Neumann (1895-1975) was a German Expressionist painter and printmaker. His monotypes evolved from sharp, angular, black and whites to late abst...

Unique contemporary wall work mixing monotype print making, painting, and sculpture. The striking shape and contrasting black and white colors make this unique piece shine on the ...

Wolf Kahn Bay with Boats, 1987 Color monotype on Somerset white wove paper Hand signed and dated by Wolf Kahn on the lower right front, bears labels on the back Frame Included: matte...

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of...

Glazed Doughnut boldly transforms a recognizable pop culture icon through the handmade language of cyanotype, merging contemporary imagery with one of photography’s oldest analogue p...

Untitled (SF129s) dating to c.1974-1976 is a mixed media, silkscreen monotype on handmade paper, 30 x 22.5 inches sheet size and estate-stamped verso (copy of Francis estate certific...

This is an exclusive handprinted limited edition cyanotype. "Sparkling Firework Burst" is a beautiful cyanotype of the New Years Eve Fireworks Lights. Details: + Title: Sparkling Fi...

Oil Monotype and Chine Collé on white BFK Rives Printmaking Paper Hand pulled by Artist on Etching Press 23.5 x 33 inches framed This piece is featured in Bruckner’s 2024 solo exhib...

Inscribed, signed, and dated lower center: "Monoprint H Lee-Smith '69" Provenance: The Waintrob Project for the Visual Arts (Foundation); Sidney and Abraham Waintrob This item is i...

Mind Over Matter is a monotype with mixed media on white BFK Rives printmaking paper and hand pulled by the Artist on the etching press. These small,...

Otto Neumann (1895-1975) was an expressionist painter and printmaker born in Heidelberg, Germany. He was one of the most versatile and original artists of the twentieth century. Neum...

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...

Signed and dated "52" in pencil Otto Neumann (1895-1975) was a German Expressionist painter and printmaker. His monotypes evolved from sharp, angular, black and whites to late abst...

Luis Feito (Spain, 1929-2021) 'Guadarrama V', 2004 intaglio monotype on paper 55.2 x 39.4 in. (140 x 100 cm.) Edition of 76 Unframed ID: FEI1051-063 Hand-signed by author

This is an exclusive handprinted unique cyanotype that takes its inspiration from the mid-century modern shapes. It's made by layering paper cutouts and different exposures using uv-...