Saint Michael 1962 Artwork

Saint Michael the Archangel—depicted in armor, vanquishing a dragon or weighing souls—has been a perennial subject from medieval icon panels to mid-century print portfolios. Works dated 1962 occupy a ripe and often misunderstood niche: the era bridges traditional ecclesiastical commissions and increasingly modernist religious art, while benefiting from postwar reproduction technologies that complicate attribution and value. This guide helps you identify, date, and appraise “Saint Michael 1962” artworks with confidence.

Why 1962 Matters: Context for Appraisers

• Liturgical and stylistic shifts: The Second Vatican Council opened in 1962. Even before its reforms were implemented, church art commissions were moving from academic realism to simplified, symbolic, or modernist treatments. Expect stylized armor, flattened forms, and bold color fields alongside traditional imagery.
• Materials in transition: Acrylic paints and alkyds were gaining ground over oils; particleboard, Masonite, and industrial primers appear more often as grounds. In printmaking, offset lithography and photomechanical processes were widespread, alongside fine-art lithography, etching, and serigraphy.
• Expanding audiences: Religious imagery spread beyond churches and monasteries. Galleries, civic collections, and private homes acquired devotional art with contemporary aesthetics, and tourist centers (notably sites dedicated to Saint Michael) distributed poster-grade prints, postcards, and souvenir bronzes.

Understanding these currents will help you recognize whether an item is an original artwork, a limited-edition print, or a mass-market devotional reproduction from 1962.

Iconography: Confirming the Subject Is Saint Michael

Before appraising, verify the subject. Core attributes of Saint Michael include:

• Armor and wings: Typically shown as a winged warrior with a sword or spear. Some modern renditions abstract the wings or armor into geometric planes.
• Dragon or serpent: Michael often tramples or pierces a dragon (Satan), sometimes reduced to a sinuous, stylized form in modern works.
• Scales: The psychostasia motif—Michael weighing souls—may appear on its own or in a Last Judgment scene.
• Banner or inscription: “Quis ut Deus” (“Who is like God?”) appears occasionally. In 20th-century graphic works, it might be abbreviated or integrated typographically.
• Setting: Mont-Saint-Michel or celestial backdrops are common. In Eastern Christian images, he may be frontal, iconic, with a labrys-like spear and a globus.

Misattributions occur when generic angels are mistaken for Michael. Cross-check for weaponry and the vanquished dragon/serpent. In 1960s modernist treatments, titles and inscriptions become crucial.

Medium and Production: Distinguishing Originals from Reproductions

Accurate identification of medium is central to valuation. The 1962 date can appear on anything from an oil painting to an offset lithograph. Use the checkpoints below.

Paintings and mixed media

• Oil vs acrylic: By 1962, acrylic polymer paints were common. Acrylics dry faster, may show a plasticky surface and lack solvent smell. Under magnification, acrylic often appears more uniform and sits atop gesso-like grounds; oil shows more varied translucency and sometimes underdrawing beneath glazes.
• Substrates: Canvas, linen, and cotton duck remain standard. Hardboard (Masonite), plywood, and particleboard panels appear frequently for mid-century church commissions and studio works. Check edges and reverse for mill stamps or brand transfers (e.g., Masonite).
• Varnish: Synthetic varnishes (and sometimes none at all) are typical in 1960s work. UV light may show differential fluorescence.

Printmaking: fine-art vs photomechanical

• Fine-art lithography (stone or plate): Look for the characteristic grain and absence of rosette patterns. Greasy crayon lines sit in the paper; colors can show slight edge merge. Deckle edges and high-quality wove papers common.
• Intaglio (etching, engraving): A plate mark (impressed rectangle) is a strong sign. Ink may sit slightly raised in lines; wiping marks and platetone may be evident. Beware false plate marks debossed on offset prints.
• Screenprint (serigraph): Solid, opaque color fields with crisp edges and occasional slight ink ridges at color boundaries. Registration marks may be present outside the image on untrimmed sheets.
• Woodcut/linocut: Carved line quality, occasional ink spread into paper grain, and slightly crushed fibers at edges.
• Offset lithography (reproduction): Under a loupe (10x), halftone rosette dots are visible. Lines break into dot patterns; colors appear layered in CMYK screens. Often printed on coated or thinner stock.

Edition markings and publishing conventions

• Typical 1960s edition numbering: Arabic numerals like 12/200 pencil-numbered at lower left; title and signature at lower center/right. Artist’s proofs may be noted A.P., E.A. (épreuve d’artiste), or H.C. (hors commerce).
• Blind stamps: Publishers, printers, or workshop chops are often blind-embossed near the lower margin. Learn to differentiate a publisher stamp (editioned print) from a later collector or framer emboss.
• Captions: Mass-market religious prints may carry printed captions or plate signatures within the image and © 1962 notices; these are not hand signatures.

Sculpture, reliefs, and medals

• Plaques and small bronzes of Saint Michael were common. Check for foundry marks, alloy composition (bronze vs spelter/zinc), and casting method (lost-wax vs sand cast). Christian bookstore pieces from the early 1960s might be cold-painted pot metal with factory patina.
• Church-scale statuary often uses fiberglass or plaster with polychromy during this period.

Icons (Eastern Christian)

• Panel icons from 1962 vary from hand-painted tempera and gilding to giclée-like photo-transfers adhered to panel. True hand-painted icons show layered egg tempera, gilding with bole, and incised halos; reproductions have printed dots and a uniform sheen.

Signatures, Dates, and Inscriptions: Reading 1962 Marks

A date alone rarely proves authorship; reading the inscription correctly is essential.

• Date formats: “1962,” “’62,” Roman numerals “MCMLXII,” or “© 1962” indicate execution or publication. A copyright notice typically anchors a reproduction year for prints or postcards.
• Placement: For artworks, look for a hand-written date near the signature or verso on a stretcher, panel back, or paper margin. Printed dates within the image usually indicate reproduction.
• Church plaques and dedication plates: Commissioned works often carry donor plaques with a date. This may mark installation, not execution.
• Labels: Frame shop and gallery labels from the early 1960s are identification gold. Note typography, addresses, and telephone formats (e.g., alpha-numeric exchanges in some regions transition to numeric by the early 60s).
• In-language clues: In French editions, “Imprimerie” or “Éditeur” lines with a 1962 date suggest offset production. German prints might show “Verlag” and “Druck.”

Authentication tip: Compare the alleged artist signature with known exemplars. Consistency in pressure, slant, and formation matters. Pay attention to pencil gloss and indentation; printed script lacks the micro-variations of actual graphite.

Valuation: What Drives the Market for 1962 Saint Michael Works

Values vary widely, and the subject’s broad appeal doesn’t guarantee high prices. Consider:

Artist and authorship

• Named artists with established auction histories command strong premiums, even for prints, especially if produced in low editions with reputable printers.
• Workshop, school, or anonymous parish commissions sell primarily on quality, scale, and condition.

Medium and rarity

• Unique works (paintings, drawings) generally exceed print values.
• Fine-art prints with low editions (e.g., <100) and crisp impressions outperform poster-grade offset prints.

Condition and presentation

• Paintings: Losses, over-cleaning, nicotine staining from church environments, and failing varnishes affect value and restoration costs.
• Works on paper: Acidic mounts from the 1960s cause mat burn; foxing and toning are common. Crisp margins, intact deckles, and untrimmed sheets add value.
• Sculpture: Structural repairs, missing sword/spear parts, or repaints reduce prices.

Provenance and context

• A documented church commission, exhibition record, or correspondence can lift estimates substantially. Religious houses often maintained acquisition ledgers; parish bulletins sometimes note a work’s commission and date.
• Association with notable sites devoted to Saint Michael can help, provided the link is documented.

Market ballparks (broad, condition-sensitive ranges)

• Unique mid-century paintings by competent regional artists: roughly low four figures, with exceptional pieces higher.
• Fine-art prints by recognized modern artists: mid three to low five figures depending on edition, signature, and paper.
• Quality studio bronzes or substantial plaster/fiberglass statues circa 1962: mid three to low four figures.
• Offset devotional prints and posters from 1962: generally modest—tens to low hundreds—unless tied to a sought-after designer or publisher.

Caveat: Markets are local and cyclical. Religious subject demand fluctuates with interior design trends and collecting fashion.

Provenance and Authentication Pathways

For a rigorous appraisal, follow a chain-of-evidence approach:

• Physical evidence: Photograph front, back, margins, frame, labels, and any inscriptions. Under raking light, document texture, plate marks, and surface build. Under UV, note varnish and restorations.
• Paper and support analysis: Identify watermarks, sheet dimensions, and fiber type (wove vs laid). In 1960s papers, optical brightening agents often fluoresce blue-white under UV; their presence can corroborate era.
• Comparative research: Find contemporaneous editions or church projects by the same artist/printer. Catalogues raisonnés, printer records, and diocesan archives can be decisive when accessible.
• Chain of ownership: Assemble bills of sale, letters, exhibition checklists, and parish inventories. Even partial threads strengthen credibility.
• Expert consultation: If a high-value attribution is in play, consult a specialist for signature verification and, where appropriate, materials testing (e.g., binder analysis showing acrylic polymers consistent with the period).

Care, Conservation, and Ethical Considerations

• Paintings: Do not solvent-clean modern paints without a conservator’s testing, as acrylics and alkyds are solvent-sensitive. Surface grime can sometimes be reduced with dry methods or aqueous systems tailored by professionals.
• Works on paper: Remove acidic mats; store or frame with 100% cotton rag boards and UV-filtering glazing. Avoid dry-mounting. Deacidification and foxing reduction should be handled by a paper conservator.
• Sculpture: Dust gently; avoid metal polishes on patinated bronzes. Stabilize loose elements (e.g., sword) via a conservator, not adhesive improvisation.
• Documentation: Keep detailed records of any intervention, and retain original frames or labels even if you reframe—these can carry pivotal provenance clues.

Practical Checklist for “Saint Michael 1962” Appraisals

• Confirm iconography: wings + armor + dragon/serpent or scales; verify title/inscriptions.
• Determine medium: painting, print (what kind), sculpture, icon; inspect with a 10x loupe for dot patterns or plate marks.
• Read the date: “1962,” “’62,” “MCMLXII,” or “© 1962”; distinguish execution vs publication/installation.
• Capture all labels and marks: gallery/framer labels, blind stamps, edition numbers, foundry marks.
• Assess condition: surface, edges/margins, structural integrity; note restorations under UV and raking light.
• Evaluate edition info: pencil signature/numbering, printer/publisher chops; beware printed “plate signatures.”
• Establish provenance: invoices, parish records, correspondence; note any church plaques/dedications.
• Contextualize value: artist reputation, rarity, quality, size, and subject appeal; compare recent sales of similar works.
• Plan care: archival framing, climate stability, and professional conservation where warranted.

FAQ

Q: Does a printed “© 1962” on my Saint Michael print mean it’s a limited edition? A: Not necessarily. A copyright line indicates the image rights and publication year, common on mass-produced offset prints. Limited editions are typically pencil-numbered and signed, often with a blind stamp or printer’s mark.

Q: How can I tell offset lithography from true lithography? A: Examine under a 10x loupe. Offset shows halftone rosettes (dot patterns) and uniform color screens; true lithography exhibits continuous tone/grain without rosettes, and drawn marks sink organically into the paper.

Q: I see “MCMLXII” on the work. Is that 1962? A: Yes. MCMLXII is the Roman numeral for 1962. It might indicate execution, publication, or installation, depending on context and placement.

Q: Do Eastern Christian icons dated 1962 hold different values? A: Often. Hand-painted tempera icons with gilding and workshop attribution can command strong prices; photo-transfer icons on panel are typically modest. Authorship, quality, and condition drive value.

Q: Did Vatican II increase or decrease demand for Saint Michael imagery? A: It shifted tastes more than demand. Many parishes updated interiors and commissioned new artworks. Today, collectors appreciate both pre- and post-conciliar aesthetics; the best examples in either style perform well.

By combining iconographic confirmation with disciplined medium identification, careful reading of inscriptions, and provenance work, you can appraise “Saint Michael 1962” artworks with clarity. The key is slowing down at the margins—literally and figuratively—where the telling details usually reside.