In the 1950s, Bernard Childs developed an abstract picture language which used archetypical signs and symbols, seen in this work, Satellite, which contains a circular raised design composed of starbursts, clusters of gathered markings in the same direction, splotches of white.
An important work, much sought after.
In addition to the 1963 signature, this work is inscribed “for Smitty – salut!” and dated 28.V.66 (May 28, 1966) and initialed by Childs. According to the artist’s inventory, “Smitty” is Louis Smith. The reframed work retains the label en verso from the Smith Glass and Mirror Company of Northampton, Massachusetts.
Childs’ work is held by all important museums and collections. This work in particular is held in numerous important public collections, including the collections of The New York Public Library (AP 3/10); the U.S. Information Agency, Washington, DC (AP); the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco (épreuve d’état unique 1/1); Fogg Art Museum of Harvard University (unique trial proof, museum purchase, 2000); Philadelphia Museum of Art (épreuve d’état unique in metallic gold and black, museum purchase, 1964).
Reproductions of this work have appeared in print on many occasions, including the following:
- “Bernard Childs, Le Signe Transforme en Paysage”, Ragnar von Holten, ART INTERNATIONAL, Lugano VII/4 May 1964, reproduction.
- “Bernard Childs: Exhibition of Paintings, Engravings and Drawings”, Howard Conant New York University Art Collection, April 14-May 15, 1964, exhibition catalog p. 5 b&w reproduction.
- “Modern Masters of Intaglio”, Queens College.
Prints by Bernard Childs, Wiggin Gallery of the Boston Public Library, Dec 1968-Jan 1969.
- “Bernard Childs: The Proof of Transformation”, Hirschl & Adler Galleries, New York, Nov. 5-Dec 17, 1994.
- “Precision and Prestige: The Arts of Engraving”, Fogg Art Museum at Harvard University, Aug 11-Dec 2, 2001.
- “Bernard Childs: Master Printmaker”, Anders Wahllstedt Fine Art, New York, Feb 2-Mar 11, 2017.
Note: This work preceded the 1967 work Satellite II.