Kawase Hasui Art

"Farewell" is an original color woodcut by Carol Summers. The artist signed the piece. This woodcut depicts a river flowing through green hills beneath a blood-red sky. The edition number is 20/50. 24 1/4" x 37" art 32" x 45" frame Carol Summers 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...

Avery, Milton. NIGHT NUDE. Woodcut, 1953. Edition of 25 in black and white (there were a further 25 printed in black and blue). Signed, dated and numbered "6/25" in pencil, and also ...

Hooves. 1927. Woodcut. 7 1/2 x 12 (sheet 11 7/8 x 15 1/8). Printed on heavy Japanese mulberry paper. Signed, dated, and titled in pencil. An example of this work is in the collectio...

Paper Size: 37.4 x 31.6 cm Image Size: 27 x 24 cm Print on paper, signed in pencil to the right, Edition in pencil 39/58. There is an artist water mark in the paper (see image) As S...

Colorful abstract landscape woodcut print by modern artist Carol Summers. The work features a color blocked depiction of a volcano with a rainbow. Signed, titled, and editioned withi...

Shift Change Mike Goscinsky, American (1933–2021) Woodblock on thin wove paper, signed, titled and numbered in pencil Edition of 15/75 Image Size: 14 x 19 inches Size: 22 x 26.5 in. ...

Paper Size: 37.4 x 31.6 cm Image Size: 27 x 24 cm Print on paper, signed in pencil to the right, Edition in pencil 39/58. There is an artist water mark in the paper (see image) As S...

Elia Shiwoohamba (* 1981 , Windhoek, Namibia ) Harvesting Time • African School • Linoleum cut • Sheet ca. 34.5 x 43 cm (Image is smaller) • Bottom left numbered 8/50 and titled • ...

This Winslow Homer woodcut engraving entitled "Making Hay", was published in Harper's Weekly in the July 6, 1872 edition. It depicts a two men hand cutting high grass on a hill. The man in the foreground is looking at a young boy and a girl (presumably his children), who are sitting on the ground with a picnic basket. This beautiful Homer woodcut engraving is presented in a brown wood frame and a light beige fabric mat with a black inner mat. The print is in excellent condition. There are two other Homer woodcut engravings in identical frames and mats that are listed on 1stdibs. See LU117326148332 and LU117326148272. These would make a wonderful display grouping. A discount is available for the purchase of two or all three of these prints. This Winslow Homer engraving...

Color Reduction woodcut from 4 blocks with 4 silk screen colors and embossing on white Rives BFK paper Edition 28/30, Unframed MassArt welcomed artist Winfred Rembert for the 2014 Master Print Series, an artist in residency project during which, an established artist transforms an idea into physical artwork, and invites students to collaborate in the art-making process. A self-taught artist, Winfred Rembert records a painful chapter of American history in autobiographical paintings, created on hand-tooled and dyed leather, which explore the lives of African Americans in Jim Crow-era Georgia. After taking part in civil rights demonstrations, he survived a lynching only to be sent to prison to do hard labor on a chain gang. Another inmate taught him leatherworking and Rembert began depicting his past in engaging compositions and vibrant color. In many scenes, Rembert offers a raw view of racism, inequality, and violence while celebrating his community’s resilience in the face of such overwhelming injustice. Winfred Rembert also participated in the Adderley Lecture series, which features distinguished artists, historians, and writers and was established in 1995 in memory of Tyrone Maurice Adderley. Past Adderley lecturers have included Chakaia Booker, Melvin Edwards...

Signed by the artist in pencil on the image Reference: Tim Mason and Lynn Mason, Helen Hyde (Washington, D.C.: Smithsonian Institution Press, 1991), 115, reproduced in color p. 68.

SADAO WATANABE (Japanese 1913-1996) JONAH, 1959 Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...