Aneta Szoltis-Mencina

Morning Dawn - Handmade Landscape Linocut, Print Unique Number 8/8

2023

The artwork will be sent unframed, with passpartou Linocut „Light” 2023 Linocut print technique Art print from 5 matrices Limited edition, print unique number 2/8 Paper Fabriano Ro...

The artwork will be sent unframed Linocut/monotype print „Soothig the soul” 2022 Linocut and monotype print technique Art print from 9 matrices Limited edition, print unique number ...

The artwork will be sent unframed, with passpartou Linocut „Light” 2023 Linocut print technique Art print from 5 matrices Limited edition, print unique number 2/8 Paper Fabriano Ro...

The artwork will be sent unframed Linocut print „ Shrouded in fog - I rise” 2023 Reduction linocut print technique Limited edition, print unique number 3/9 Paper Fabriano Rosaspina ...

Sundown by Ian Phillips [2022] limited_edition and hand signed by the artist Linocut Edition number 23/28 Image size: H:28.5 cm x W:41 cm Complete Size o...

Sunset Landscape Arthur Secunda, American (1927) Date: circa 1980 Screenprint, signed and numbered in pencil Edition of 31/300 Size: 25.5 x 34 in. (64.77 x 86.36 cm)

Rob Barnes Summer Evening Limited Edition Linocut Print Edition of 50 Image Size H 44cm x W 33cm Sheet Size H 49cm x W 61cm Sold Unframed mounted in Antique White mountboard Free Shi...

"Farewell" is an original color woodcut by Carol Summers. The artist signed the piece. This woodcut depicts a river flowing through green hills beneath a blood-red sky. The edition number is 20/50. 24 1/4" x 37" art 32" x 45" frame Carol Summers 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...