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Grosman had founded ULAE in 1957, after receiving encouragement from the Museum of Modern Art curator William Lieberman to collaborate with artists on original prints. In 1960, she invited Jasper Johns to the studio, triggering a cascade of collaborations with his close contemporaries — including Robert Rauschenberg, Jim Dine, Cy Twombly and James Rosenquist. As the roster grew, so did the studio’s offerings. Under Bill Goldston, ULAE mastered intaglio, woodcuts and offset printing, producing everything from experimental editions to finely crafted books and posters.
When Dr. Fleck began visiting the Long Island studio, often with the Powers, he found more than a print workshop. ULAE was a gathering place, part professional press, part creative community. Grosman and Goldston shared insights on current projects. Conversations with artists and printers underscored the vibrancy of the studio. Collecting became a collaboration inseparable from those moments of exchange. Over time, Dr. Fleck assembled a significant body of work from ULAE, including more than 20 prints by Johns offered in Christie’s sale following his donation of other prints by the artist to the Philadelphia Museum of Art.
In Los Angeles, a printer’s legacy takes shape
As Dr. Fleck’s story took shape on the East Coast, Donald Kelley’s found its locus out West, at the Tamarind Lithography Workshop, where he trained as a master printer. Established in 1960 by June Wayne, with the support of fellow artists and printmakers Clinton Adams and Garo Antreasian, Tamarind’s mission was to restore fine art lithography in the United States through an ambitious programme that trained hundreds of master printers while introducing just as many artists to the medium. Central to Wayne’s vision was the printer-artist relationship, where printers offered technical expertise while honing their craft by adapting to each artist’s vision.
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