Series: Fountain Series
Medium: Etching with chine-collé and screen-printed elements
Dimensions: 8 x 6 inches (image) 11 x 10 inches (sheet)
Signature: Signed
Artist details: Pacific Northwest, American
Date finished: 2018
Edition: of 3

Medium: Etching with chine-collé
Dimensions: 9 x 14 inches (Image) 12 x 17 inches (Sheet)
Signature: Signed
Artist details: Pacific Northwest, American, 1968
Date Finished: 2017
Edition: AP

Medium: Linocut
Dimensions: 28 1/2 x 21 1/2 inches (image) 33 1/2 x 24 3/4 inches (sheet)
Signature: Signed
Artist details: American, Pacific Northwest, b. 1966
Date finished: 2019
Edition: of 25

Medium: Aquatint and etching
Dimensions: 5 x 7 inches (image) 10 1/2 x 13 3/4 inches (sheet)
Signature: Signed
Artist details: American, Pacific Northwest, b. 1966
Date finished: 2015
Edition: of 50

Medium: Etching
Dimensions: 31 x 24 3/4 inches (Image) 43 1/4 x 37 1/4 inches (Framed)
Artist details: American, 1946
Date finished: 2016
Edition: of 50
Printer: Peter Kosowicz
Publisher: Thumbprint Editions, London

Available framed. Please inquire.

Series: Sequential Portfolio
Medium: Serigraph
Dimensions: 26 x 19 inches
Artist details: American, 1930 - 2020
Date finished: 1972
Edition: of 200
Publisher: Sanmore Editions, N.Y.

Recommended by Emma (Marketing & Communications Manager):
"Anusckiewicz uses color and form to create a striking composition filled with optical illusion. The piece features an irresistible candy-colored palette so challenging for the eyes and brain that it seems to vibrate on the paper. The precisely printed two-dimensional planes of color create the illusion of three dimensions, while the color blocks of the background blend together visually to create a rainbow gradient. This print is simple yet full of surprises."

Medium: Woodcut
Dimensions: 36 x 36 inches (image/sheet)
Signature: Signed
Artist details: American, 1925 - 2016
Date finished: 2001
Edition: of 50
Reference: Summers, 235

Medium: Color woodcut
Dimensions: 37 x 37 1/2 inches (image/sheet)
Signature: Signed
Artist details: American, 1925 - 2016
Date finished: 1989
Edition: 41/100
Reference: Summers, 205
Condition: Very lightly faded, hinges on back. Beautiful impression.

Medium: Woodcut
Dimensions: 30 x 30 inches (image/sheet)
Signature: Signed
Artist details: American, 1925 - 2016
Date finished: 2010
Edition: 10/100
Reference: Summers 255

Recommended by Emma (Marketing & Communications Manager):
"It's unusual for Carol Summers, known for his bold color palettes, to create a monochromatic woodcut. In our increasingly digital world, the RGB version of indigo permeates our lives as the go-to color for hyperlinks and other mundane digital functions. In Las Cascadeas De Tamasopo Summers reminds me of indigo's richness and beauty. This print makes me crave the pigment and everything I associate with it - summertime, Mediterranean waters, ceramics painted by hand. I feel enthralled as if I am seeing color for the first time."   

Medium: Woodcut
Dimensions: 30 x 30 inches (image/sheet)
Signature: Signed
Artist details: American, 1925 - 2016
Date finished: 1997
Edition: 38/75
Reference: Summers, 224

Recommended by Paige (Collections Manager):

"'Jungle Bouquet' brings me so much energy and joy. It takes Summers' signature bold colors and blurred lines even further so the tassels become hyper saturated red blobs. The proportions are complicated with huge palm trees fitting into a ceramic vase that occupies an entire stage setting. To me, these contradictions and oddities are just playful and inviting. I enjoy this piece at first glance every time I see it."

Medium: Color woodcut
Dimensions: 30 x 38 inches (image/sheet)
Signature: Signed
Artist details: American, 1925 - 2016
Date finished: 1997
Edition: of 50
Reference: Summers, 223

Recommended by Rebecca:

(Gallery Associate):

This sublime example shows Carol's inventive woodblock printing technique that achieved a wonderful watercolor effect. To ensure that there were no hard edges, he loosely carved out shapes and used a rasp (file) to soften any sharp lines. He would then lay Japanese paper on the blocks and roll on the color following the relief area on the block. In conventional printing, the artist reverses the image on the blocks so that the resulting image is facing the correct direction. By using his special technique, Carol printed the blocks directly and did not have to reverse the image, so it was clear to him how the end product would look. After rolling on the inks, Carol blew solvent over the paper to further soften the edges and encourage the ink to stain or dye the paper. Sometimes he would print on the back of the paper first to lessen the absorbency of the paper and to give the solid color fields more variation. This is illustrated in the comet and the waterfalls in the hills.Davidson Galleries has been showing Carol’s work since the early eighties. We miss him.