1970s Prints and Multiples

Poster. Measures 33 x 27 in. Unframed. Plate-signed. Copyright 1971 New York Graphic Society, Ltd. Printed in USA. Excellent/Good Condition.

Signed lower right, 'Garcia Fons' for Pierre Garcia-Fons (French, 1928-2016), and inscribed lower left, 'Epr. d' Artist' (Epreuve d'Artist / Artist's Proof); also indistinctly inscri...

"Orange Tondo" by Ilya Bolotowsky is a quintessential example of geometric abstraction, featuring a bold circular composition dominated by vibrant orange hues and precise geometric ...

"Little Wolf's Last Camp" is a colored woodblock A/P signed by Carol Summers. In the image, a mountain looms over a circle of teat the edge of a lake, a scene likely inspired by the life events of the Northern Cheyenne Chief Little Wolf (c. 1820-1904) and his leadership during the Northern Cheyenne Exodus. The drama 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. Frame: 37 x 37 in This is an artist's proof from the edition of 100 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...

Amleto dalla Costa Anatomy+Suite 1979 Original silkscreen hand signed and numbered from an edition of 325

Henryk VI na Lowach vintage poster is an offset print on paper realized by Polish Artist in 1974. Original colored offset. Good condition and aged. Print: Polish Artist The artw...

Medium: Lithograph on vélin d'Arches paper Year: 1973 Paper Size: 20 x 26 inches Inscription: Unsigned and unnumbered, as issued Notes: From the folio, Les Réalistes Lyriques, VIII, ...

Agrà Nero su Nero is a colored screen print on paper realized by the Italian artist Sante Monachesi in 1973 and published by Euromuseum Editore, Ancona. Hand-Signed in pencil on th...

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

Composition is an original etching realized by Leo Guida in 1970s. Good condition. Mounted on a white cardboard passpartout (50x35). Not signed and not dated. Leo Guida (1992 - ...

Composition is an original manifesto realized by Leo Guida in 1970s. Good condition. Edition of 5/15. Hand-signed and numbered.. Leo Guida (1992 - 2017). Sensitive to current is...

Artist: Michael Knigin, American (1942 - 2011) Title: Eye of the Storm Year: 1971 Medium: Screenprint, signed and numbered in pencil Edition: 136/200 ...

Joan Miro (1893-1983) Cat, Small Bird and Black Hand, 1970 Original lithograph Printed signature in the plate On vellum 83 x 60 cm (c. 33 x 24 in) Excellent condition

Marc Chagall (1887-1985) - Poèmes, Planche XXI Collage, woodcut print from 1968. Trial proof - unique work. Dimensions of sheet: 32.5 x 25 cm Dimensions in frame: 53.2 x 43.2 cm ...

Composition is an interesting artwork realized by Leo Guida in 1970. Original Screen Print Good conditions. Leo Guida Sensitive to current issues, artistic movements and historica...

Composition is a contemporary artwork realized by Luigi Spacal (Trieste, 1907 - Trieste, 2000) in the 1970s. Original Colored woodcut print on cardboard. Image Dimensions: 18 x 14 cm Good conditions, not signed. Lojze Spacal, also known as Luigi Spacal, was born on the Trieste Karst, at the time of the Austro-Hungarian Empire, from a family of Slovenian nationality.In 1930 he was arrested on charges of anti-fascism and confined for some time to Accettura, in Basilicata. Here he discovered his artistic vocation. In 1934 he graduated in Venice. He began to exhibit his first works in 1937. In 1942 he was again sent to confinement, this time in Abruzzo and, later, assigned to a special working battalion in Forte dei Marmi. Nevertheless, he managed to continue to exhibit his works so much that, in 1944, he set up his first solo show. In 1948 he participated for the first time in the Venice biennial. In 1958 he won the International Grand Prix "for a draftsman and engraver" at the Venice Biennale. In 1959 he received the 2nd prize at the International Biennial of Graphic Art in Ljubljana. In 1974 he was awarded the Prešeren prize, the highest Slovenian artistic recognition, and the “San Giusto d'Oro” in 1977. In 1998 a museum was dedicated to him in the castle of San Daniele...

Photorealist flower screenprint by American artist Lowell Blair Nesbitt, signed and numbered in pencil. Tiger Lily Lowell Blair Nesbitt, American (1933–1993) Date: 1978 Screenprint,...

Moony is an original screen print realized by Nicola Simbari in 1976. Mixed colored screen print. Hand signed and dated by the artist on the lower right margin. Published in the c...

Artist: Gene Davis (American, 1920-1985) Title: "Homage to Barnett Newman" *Signed and dated by Davis in pencil lower right Year: 1979 Medium: Original Screenprint on unbranded soft-...

To see our other original vintage travel posters, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the poster you want. Anonymous Boston Museum Centennial 1870-1970 "Narcissus Tapestry, French or Franco-Flemish, Late 15th or 16th Century, Centennial Acquisition" 97x70cm Vintage poster 1970

Artist: Arthur Boden, American Title: Star Year: circa 1970 Medium: Serigraph, signed and numbered in pencil Edition: 4/50 Image Size: 10 x 9.5 inches Size: 14 x 14 inches Plexi Box ...

Cellula III is an original lithograph, realized by Vito Apuleo in the 1970s. Hand-signed on the bottom right. Artist's proof as hand written by the artist...

Lithograph, silkscreen in colors on vélin vergata paper. Paper size: 16.5 x 12.625 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue Raisonne Reference: M...

Diecicomeleditadiduemani is a silk-screen print on acetates, realized in 1973 by the artist Ennio Pouchard (1928). Signed on plate on the lower right. Titled at the top left. From...

Biennale Warszawa is a vintage offset poster realized in 1974. The artwork was realized on the occasion of the Biennale in Warszawa. Good conditions except for some foldings and di...

Setsugo-Δ Mezzotint, 1977 Signed, titled and numbered in pencil (see photo) Edition: 30 (8/30) Provenance: Ninion and Sheldon Landy Collection, Donors to Art Inst. of Chicago Hamanishi Exhibition, Oct. 12, 2013-January 5, 2014 Hamanishi Large 12 HAMANISHI Katsunori...

Silkscreen screenprint or Lithograph Hand signed and numbered. An esoteric, mystical, Kabbala inspired print with Hebrew as well as other languages. Joseph Charles Tilson RA (born 2...

Artist: Jack Sonenberg, American/Canadian (1925 - ) Title: Sign No. 5 Year: 1971 Medium: Etching with Aquatint, signed and numbered in pencil Edition: 38/110 I...

Landscape is an original lithograph on cardboard, realized by Mario Sportelli. The state of preservation is very good. Hand-signed on the lower right Artist's proof. Sheet dimens...

Artist: Oyvind Fahlstrom, Swedish (1928 - 1976) Title: Sketch for World Map from the Peace Portfolio Year: 1972 Medium: Silkscreen, signed and numbere...

Artist: Arman, French (1929 - 2005) Title: Western Accumulation Year: 1979 Medium: Silkscreen on Arches Paper, signed and numbered in pencil Edition: 150, AP 30 Size: 30 in. x ...

Poster of the conference on socialism is an original Polish offset print realized in 1975 in Krakow. Dated on the plate on the lower left. Good conditions.

Salvador Dali - Oil Refining - from "Hommage a Léonardo de Vinci" Original Etching Dimensions: 76 x 56 cm 1975 Edition: EA /60 Handsigned and numbered Refe...

Salvador DALI The Lovers Condemned, 1970 Original etching Handsigned in pencil Numbered / 75 On Japan paper 66.5 x 51 cm (c. 26.19 x 20.08 inch) REFERENCES : - Catalog raisonne F...

Limited edition of 99 prints, numbered and hand signed. Rafael Alberti (El Puerto de Santa Maria 1902 – El Puerto de Santa Maria 1999) A Spanish poet born in Puerto de Santa Maria ...

Artist: Roberto Matta, Chilean (1911 - 2002) Title: 10 AM from L'Arc Obscur des Heures Year: 1975 Medium: Aquatint Etching, Signed and numbered in pencil Edition: 125 Image Size: 19....

Segno Zodiacale Capricorno is an original screen print on grey paper realized by Sergio Barletta. Signed on the lower left margin. In good conditions...

Artist: Jim Bruss, American (1944 - ) Title: Reflection I Year: 1975 Medium: Serigraph, signed and numbered in pencil Edition: 1/25 Image: 23 x 19.5 inches Size: 33 x 25.5 inches

Animals in the corral is a black and white etching realized by Nazareno Gattamelata in 1970s. Hand signed by the artist on the lower right margin: Gattamelata. Numbered on the lowe...

On the beach is an original lithograph realized by Nicola Simbari in 1977. Hand-signed on the lower right. Edition of 100 prints. The artwork represents a beach with an abstract m...

Crazy Horse No.7 - Front View of Nude Female is an original color serigraph realized by Nicola Simbari in 1976. Hand signed and dated in pencil on the lower right margin (Simbari 76)...

Untitled - Spheres Joseph Grippi, American (1924–2001) Date: circa 1970 Screenprint, signed and numbered in pencil Edition of 21/50 Size: 27.25 x 46 in. (69.22 x 116.84 cm)

The Cathedral is a Vintage Offset Print on ivory-colored paper, realized by Franco Gentilini (Italian Painter, 1909-1981), in 1970s. The state of preservation of the artwork is exce...

Western Film Poster is an original manifesto realized by an artist of the 20th century in 1973. Good condition apart for a small tear on the righ...

Author: Keith Haring. Title: Untitled. Year: 1970 Technique: Offset lithography. Issue: 57/150. Size: 70 x 50 cm. Stamped by the Keith Haring Foundation.

The Rat is a Contemporary artwork realized in 1973 by the Italian artist Leo Guida. Original Colored Etching on paper. Titled, hand-signed and dated in pencil on the lower margin:...

Artist: Jules Engel, Hungarian/American (1909 - 2003) Title: Untitled 3 Year: circa 1970 Medium: Acrylic on Paper Size: 21 x 21 inches

Image dimensions: 35x50 cm. Blue composition is a colored screen print on Fabriano watermarked paper, realized in 1975 by the Italian artist, Wladimiro Tulli, published by La Nuova ...

BIG HEAD RED LAVENDER is an original limited edition lithograph by the Dutch artist Karel Appel on printed using traditional hand lithography techniques on archival printmaking paper...

Reportage of Paolo Dorazio is an original serigraph artwork on cardboard realized by Paolo Dorazio in 1970. Good condition and aged. Titled on the top "STORIAUNO" - UN REPORTAGE (...

Lithograph, silkscreen in colors on vélin vergata paper. Paper size: 16.5 x 12.625 inches. Inscription: Signed in the plate and unnumbered, as issued. Catalogue Raisonne Reference: M...

Buffalo is a wonderful brown burnt sienna ink linoleum original print on paper, realized in 1971 by the Italian master Aldo Pagliacci (1913-1991). Hand-signed, dated and numbered in...

Signed color lithograph by French artist André Masson (1896-1987). Title of work is Judith and Holofernes. Work is signed and numbered 74/150 in ...

This original artwork by Antoni Tàpies is one of the 10 colored lithographs of the “Berlin Suite”. Tàpies realized this portfolio in 1974, each lithograph is on Arches wove paper. ...

Mariateresa Maschio, Renzo Biasion, Dachau, Bologna, Editart, cm 50.5 x 35, in Italian Very touching poem by Mariateresa Maschio concerning the theme of holocaust, with an original...

Limited edition of 150 prints, hand signed and numbered. Very good conditions.

Artist: Darryl Hughto, American (1943 - ) Title: Angelon Date: 1979 Screenprint, signed, titled, numbered and dated pencil Edition of 160 Size: 29.75 x 42 in. (75.57 x 106.68 cm)

An original poster realized by J.M Fonteneau to promote the Alcazar, a restaurant located at number 62 of the street Mazarine in the 6th district in Paris. This place was occupied i...