Art by Medium: Linocut

This exquisite linocut by Joan Miro (1893–1983), titled Personnage, Oiseau, Etoile (Figure, Bird, Star), from the album XXe Siecle, Nouvelle serie, XXIe Annee, No. 13, originates fro...

linocut, edition of 15 This artwork measures 36"h x 24"w and ships unframed. Bio // Jesse Shaw (b.1980) is a printmaker from Tennessee primarily working in relief prints carved from linoleum blocks. His work is based in the narrative, satirical, political, and social commentary tradition of the graphic print. Jesse is currently working on a series of fifty prints depicting the epic story of America. Prints from his “American Epic” series of linocut prints...

Artist Name: Larry Zox Title:Niagara Series IV Yellow Signed Linocut Lithograph Year : 1979 Medium Type: Print - Linocut Lithograph Size-Width Size-Height : 42.25'' 29.75'' Signed ...

FRANCES H. GEARHART (1869 – 1958) RED ROCK CANYON ca 1936 Color block print. Signed and titled in pencil. 10 x 11” on fibrous paper, sheet 13 3/8 x 15...

The New Cable British Modern Mid 20th Century Vorticist European Vorticism Woman Sybil Andrews CPE (British/Canadian, 1898-1992) "The New Cable," 1931 12 x 16 1/2 inches Color linocut Signed, titled, inscribed 'Second State', and numbered 13/60 in pencil Framed: 19 x 24 inches Literature: Coppel Sa17 Illustrated on page 10 of the catalog The proposed edition of the first state of the Giant Cable was 50, but only 30 impressions were pulled. Andrews removed the blue background for the second state, which was published under the title The New Cable in an edition of 60. BIO Sybil Andrews was a printmaker, painter, graphic artist and educator who was born in Bury St. Edmonds, Suffolk, England. She moved to London (England) in 1922. In 1947, she emigrated to Campbell River (Vancouver Island) British Columbia, Canada, where she worked, taught and lived for the rest of her life. She died at a hospital in Victoria (B.C.) Her mediums were the colour linocut (1) (most famous), etching, posters, pastels, ink, watercolour, monoprint and oil. Her subjects were human activity (at work, sports, travel, etc.), figures, animals, genre, allegory, architecture and landscape. Her style was Art Deco (see AskART styles), Futurism, Cubism and Vorticism (2). Her work is identified by a simple format, clean lines, distortion, vivid colours, drama and rhythm. Quote: "The colour linocut was just the medium for me, being interested in dynamics and ideas and patterns... It is impossible to be fussy with lines, you have to simplify, you are forced to simplify your idea to its fundamentals." Andrews produced 76 linocuts in her life, of which 43 were made from 1929 to 1939, which is considered to be her best period. John Hassall's art correspondence course (1918) was the beginning of her formal art education. She went from there to Heatherley's School of Fine Art (London/1922) where she studied under Henry Massey (see AskART) and met artistic partner Cyril Power (see AskART). At the same time, she studied independently with sculptor Henri Glicenstein (see AskART) who taught her drypoint etching and to draw from life. She also attended the Grosvenor School of Modern Art (1925). Iain McNab (1890-1967) was Principal and Claude Flight (3) (see AskART) an instructor who had a great influence on her choice of linocut as a primary medium. Some of his other students and her associates were Edith Lawrence (1890-1973), Lill Tschudi (1911-2001), Eileen Mayo (see AskART) and William Greengrass (1896-1970). After emigrating to Canada she taught art continuously until a month before her death. She was elected a member of the Canadian Painters - Etchers Society (after 1976 the Print and Drawing Council of Canada) in 1951. She began exhibiting her work in 1921.In 1929 she was included in "The First Exhibition of British Linocuts...

Linocut in colors on Arches paper, edited in 1959 Limited edition 21 of 50 copies signed in pencil by artist in lower right corner and numbered 21/50 in lower left image size: 64.5 x 53.5 cm Paper size: 72,9 x 59,5 cm Framed size: 98.5 x 85.5 cm very good conditions Publications / Catalogue Raisonnée : This work is fully documented and referenced in the official Catalogue: - Baer 1229, Bloch 907 Framed to museum standards in a handmade frame , the background is made ph neutral for proper preservation of the work over the years , to avoid oxidation. We offer professional packaging and tracked shipping with DHL Express courier , ( shipping time: 24 hours for European countries and 4 to 6 days for America and other non-eu countries )  Shipping costs are included Notes: Pablo Picasso Picador et Taureau...

Signed and titled in pencil, edition of 20. Last print in the edition. Juan R. Fuentes's print, "Bracero Brothers," reflects the Chicano Art Movement of the 1970s that he helped t...

Cliff Edge is a limited edition reduction linocut print by Ian Phillips. Ian Phillips is available online and in our gallery at Wychwood Art. My printing process starts today, as it’...

This wonderful Linocut was produced 1956 at the height of Picasso's talent. It is in excellent original condition with its period frame. It is signed by the artist in pencil and numb...

Linocut on Arches wove paper. Hand signed and numbered by the artist in pencil. Image size 25 x 20.75 inches. Sheet size 29.6 x 24.5 inches. Frame size approx 34.5 x 29.5 inches. Pri...

CRUSADERS FOR JUSTICE is a hand pulled original limited edition relief print created using linocut printmaking techniques on white archival heavyweight paper, 100% acid free. Hand s...

Martel Wiegand Untitled (Abstract, Modern, Beige, Brown, Linocut) Linoleum Cut on light paper 1996 19.48 x 25.78 inches (49.5 x 65.5 cm) Edition: Unique Signed and dated by hand COA ...

ROBERT TAVENER (1920-2004) Cornfield and Downs Signed, inscribed with title and numbered 45/75 Linocut Framed 40 by 55 cm., 15 ¾ by 21 ¾ in. (frame size 62 by 76.5 cm., 24 ¼ by 30...

The artwork will be sent unframed, with passpartou Linocut „Moor” 2023 Linocut print technique Art print from 5 matrices Limited edition, print unique number 2/8 Paper Fabriano Ros...

Color linoleum cut, 1959. Signed by Picasso and numbered 32/50 in pencil, lower margin. Printed by Arnéra, Vallauris. Published by Galerie Louise L...

This exquisite linocut by Henri Matisse (1869–1954), titled Teeny, from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4,...

FRANCES H. GEARHART (1869-1958) SNOWBOUND c.1928 Color block print, Signed and titled in pencil. 11 x 6 ½” sheet c. 14 x 9” Laid down on backing board. The usual slight browning a...

Shipping Procedure Unmounted artwork Ships in a well-protected tube from Nigeria Accompanied by a Certificate of Authenticity. About Artist Tosin Oyeniyi is an intrinsically talente...

Cyril Power (1872-1951) color linoleum cut, Monseignor St. Thomas, circa 1931, signed and titled in pencil at the lower right, apart from the edition of 60. Reference: Redfern 24. In very good condition, on buff oriental laid tissue, conservation matted, with margins, 13 7/8 x 11 1/8, the sheet 15 x 12 5/8 inches. A fine impression, with the colors fresh and vivid. Printed in four colors (yellow, red, blue and dark blue). The prints of the Grosvenor School artists were created by applying colors with successive blocks. The margins show the colors of each of these blocks (see illustration of the margin). The subject matter of this print relates to TS Eliot...

Contemporary Mexican linocut print. El Caballito normally refers to a rocking horse or hobby horse, but this one is large enough to carry knights in armor, devils and the figure of death on his back. From the edition of 15. Daniel Gonzalez was raised in Los Angeles and received his training at the California College of Arts and Crafts. He also apprenticed with Artemio Rodriguez...

"Winch" British Linocut Grosvenor School Machine Age 1930 Woman Artist Print "The Winch" 1930. 7 3/4 x 11 (sight) inches. Linocut in colors on tissue...

George Josimovich, 'Commuters', linocut, 1922-23, edition 20. Signed, dated '22, titled, and annotated '9/20' in pencil. Initialed in the block 'G.J....

Linoleum cut printed in colors on wove paper. Duthuit-Matisse 702. Hand signed and numbered 7/25 by the artist. Image size 7.5 x 6.75 inches. Sheet size 16 x 11.75 inches. Custo...

This exquisite linocut by Joan Miro (1893–1983), titled Femme (Woman), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no...

Dogmania is an Original Linocut Print realized by Mino Maccari in 1951. Very good condition, not signed. Mino Maccari (1898-1989) was an Italian writer, painter, engraver and journ...

HERBERT GURSCHNER (Austrian / English (1901-1975) VILLAGE SCENE / TOWN FESTIVAL ca.1924 Color woodcut 4 ¾ x 5 3/8” Signed in pencil. Good strong colors. On thin paper. Faint darkeni...

Linocut on vélin vergé ancien paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Pougny, dix linogravures originales, 1964. Published by Au Vent d'Arle...

This exquisite linocut by Henri Laurens (1885–1954), titled Sirenes (Sirens), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommair...

The Horse Trainer is an original Linocut Print realized by Mino Maccari in 1951. Very Good condition. No Signature. Mino Maccari (1898-1989) was a...

CYRIL POWER (1874 - 1951) THE TUBE STAIRCASE, 1929 (Coypel CEP 11) Linocut, a likely unique proof impression of the key block in reverse, suggesting a counterproof. Unsigned. 17 ½” x 10”, sheet 20 x 14 ¾”. On a sheet of brown wove paper similar to newsprint. A few repaired tears in the margins. Provenance: Redfern Gallery, 2014 with label and inventory no. Redfern Gallery has represented the Grosvenor School...

Figure is a linocut print realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Not signed. Good conditions. Mino Maccari (Siena, 1924-Rome, June 16, 1989) was an Italian...

Larry Zox, American (1937 - 2006) - Purple Composition, Year: 1971, Medium: Linocut, signed and numbered in pencil, Edition: 6/50, Size: 22 x 30 in. (55.88 x 76.2 cm), Framed Siz...

The artwork will be sent unframed, with passpartou Linocut „Light” 2023 Linocut print technique Art print from 5 matrices Limited edition, print unique number 2/8 Paper Fabriano Ro...

We are all crying out for peace, But none is crying out for justice. Not just all about peace, But equal rights and justice. It’s a must-have. Slavery then, advanced colonization no...

MARTA GARBACZEWSKA (born 1987) - Graduate of the Academy of Fine Arts in Gdańsk. Diploma in 2012 in the studio of prof. Maria Targońska, annex by prof. Czesław Tumielewicz. PROVENAN...

Richard Mock, American (1944 - 2006) - Democrats, Year: 1996, Medium: Linocut on BFK Rives, signed, titled, dated and numbered in pencil, Edition: 80, Image Size: 16.25 x 19 inch...

The Council says; Forget about where you come from As long as you’re a black man You’re an African if you come from Clarendon, Portland, Westmoreland… Don’t mind your nationality Yo...

I See I don't See it is an Linocut Print realized by Mino Maccari in 1951. Very Good condition. No Signature. Mino Maccari (1898-1989) was an Italian writer, painter, engraver and...

A large, striking lino print by Tsugumi Ota (b.1951) depicting a nude woman playing the violin. Signed, dated, and titled in graphite below the image. Numbered 3/30. On paper.

This artwork tiled "Church of Mandraikina, Corfu" 1928 is an original color linocut on Laid fibrous paper by noted British artist Isabel De Bohun Lockyer, 1895-1980. It is hand signed, titled, dated and numbered 7/50 in pencil by the artist. The image (linocut mark) size is 7.15 x 9.85 inches, framed size is 18.75 x 21,5 inches. It is in excellent condition, especially considering the age. About the artist: Isabel de Bohun Lockyer (1895–1980) was a British painter known for her linocut color prints. She worked as an independent artist and mostly depicted landscapes. Lockyer was one of the few linocut artists at the time who was not associated with the Grosvenor School, a collection of artists and students who were primarily responsible for a resurgence of interest in printmaking and particularly linocut after World War I. Her earlier work followed closely in the tradition of woodcut due to her use of water-based inks, but later her technique showed influence from the work of Claude Flight, one of the heads of the Grosvenor School, who invited her to exhibit her prints at some of his annual British linocut...

Andrews, Sybil (English/Canadian, 1898-1992), C. SA26. "SLEDGEHAMMERS", Color Linocut, 1933, ed. 60 plus 4 trial proofs, Ref. C. SA 26, 10-1/4 x 12-1/2, signed, titled and numbered 6...

Carnations by Lisa Takahashi [2019] Limited Edition Linocut Edition of A/P Image size: H:29 cm x W:42 cm Complete Size of Unframed Work: H:39 cm x W:50 ...

Maria Stelmaszczyk is a Polish artist born in 1983. PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery o...

This original linocut in colours is hand signed in pencil by the artist "Picasso" at the lower right margin. It is hand numbered in pencil 5 from the edition of 50, at the lower left...

Signed and numbered linocut, from a series of 4 male and female nudes. Reyes attended The School of the Art Institute of Chicago, where he received a Bachelor of Fine Arts degree in...

CRUSADERS FOR JUSTICE is a rare commemorative fine art poster designed by the renown woman artist, Elizabeth Catlett featuring a portrait of the iconic 20th century civil rights advo...

Signed and numbered linocut, from a series of 4 male and female nudes. Reyes attended The School of the Art Institute of Chicago, where he received a Bachelor of Fine Arts degree in...

MARIA STELMASZCZYK (born in 1983) Studies at the Faculty of Graphic Arts and Painting Laboratory of Woodcut Techniques and Artistic Book at the Academy of Fine Arts Władysław Strzemi...

Image dimensions: 15 x 11.5 cm. Boudoir is a black and white linocut on ivory-colored paper, realized in 1945 by the Italian satiric master Mino Maccari (1898-1989). Hand-signed wi...

There is a natural and raw understanding in Mukesh Sharma’s prints that both depict, and are influenced by, the Rajastani communities of his home town in rural India. In these Limited Edition fine-art prints, made over a period of twenty years, we are offered the colours of India’s ancient land, the textures, light and the patterns that are everywhere. In the patterns of the arable fields to the jali's (carved screens) in the architecture. This work is however not romantic nor nostalgic but shows a deeper rooted need to offer a visual heritage of place, of where the artist is from and the journey that he is taking. The results are both compelling and honest. Mukesh Sharma, Voted Dyas II, Lino-cut/ chine colle, on German Ivory paper Edition: 5 of 8, 1999 Image size: 47 x 39 cm / Sheet size: 79 x 55 cm Unframed 'We belong where love finds us' Mukesh Sharma's work: It is often in childhood that paths are set for what we will become. Mukesh Sharma hails from a rural, agricultural village in Rajasthan, India. His Father is a craftsman who fixed and mended farm machinery and understood the working parts in the processes. Sharma followed in his Father’s footsteps, as is often the case in Indian families, but his was not the machines of the fields but the presses of the printing studio. Like his Father, Mukesh Sharma is fascinated with understanding how things work and how he can manipulate the metal in his hands. It is not surprising then that his medium of choice is printing. One of the most physically challenging of all the practices, it can often be physically challenging as well as technical and detailed. In his youth, Sharma would draw with stones on walls and floors. He was lucky his family encouraged this and he is grateful for his early art-training at the Jaipur School of Art but it was at the Baroda Art Department that he was introduced to the great printing traditions of Jyoti Bhatt...

Linocut on paper. Edited in 1958. Limited edition of 150 copies, numbered 83/150 in lower left corner. Hand-signed by artist in pencil in the lower right margin. Paper size: 47.2 x ...

Signed and numbered linocut, from the Sensual Line series of 4 male and female nudes. Reyes attended The School of the Art Institute of Chicago, where he received a Bachelor of Fine...

Above the Sea [2022] limited_edition and hand signed by the artist Linocut Edition number 1-10 Image size: H:20cm cm x W:20cm cm Complete Size of Unframed Work: H:45cm cm x W:45cm cm x D:5mmcm Sold Unframed Please note that insitu images are purely an indication of how a piece may look Reduction linocut limited edition print. Inspired by a walk along the south west coast path from high up on Bolberry Down to Hope Cove. Ann Burnham...

Joanna Padfield Canada Goose Limited Edition Linocut Print on paper, hand-tinted with watercolour. Edition of 50 Image Size: 31cm x 20cm Paper Size: 28.5 x 39cm Sold unframed Please ...

Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art...

Alex Katz was born in Brooklyn, New York in 1927. In 1928, at the outset of the Depression, his family moved to St. Albans, a diverse suburb of Queens that had sprung up between the two wars. Katz was raised in St. Albans by his Russian parents. His mother had been an actress and possessed a deep interest in poetry and his father, a businessman, also had an interest in the arts. Katz attended Woodrow Wilson High School for its unique program that allowed him to devote his mornings to academics and his afternoons to the arts. In 1946, Katz entered The Cooper Union Art School in Manhattan, a prestigious college of art, architecture, and engineering. At The Cooper Union, Katz studied painting under Morris Kantor and was trained in Modern art theories and techniques. Upon graduating in 1949, Katz was awarded a scholarship for summer study at the Skowhegan School for Painting and Sculpture in Maine, a grant that he would renew the following summer. During his years at Cooper Union, Katz had been exposed primarily to modern art and was taught to paint from drawings. Skowhegan exposed him to painting from life, which would prove pivotal in his development as a painter and remains a staple of his practices today. Katz explains that Skowhegan’s plein air painting gave him “a reason to devote my life to painting.” Katz’s first one-person show was held at the Roko Gallery in 1954. Katz had begun to develop greater acquaintances with the New York School and their allies in the other arts; he counted amongst his friends’ figurative painters Larry Rivers and Fairfield Porter, photographer Rudolph Burckhardt, and poets John Ashbery, Edwin Denby, Frank O’Hara, and James Schuyler. From 1955 to 1959, usually following a day of painting, Katz made small collages of figures in landscapes from hand-colored strips of delicately cut paper. In the late 1950s, he moved towards greater realism in his paintings. Katz became increasingly interested in portraiture, and painted his friends and his wife and muse, Ada. He embraced monochrome backgrounds, which would become a defining characteristic of his style, anticipating Pop Art and separating him from gestural figure painters and the New Perceptual Realism. In 1959, Katz made his first cutout, which would grow into a series of flat “sculptures;” freestanding or relief portraits that exist in actual space. In the early 1960s, influenced by films, television, and billboard advertising, Katz began painting large-scale paintings, often with dramatically cropped faces. In 1965, he also embarked on a prolific career in printmaking. Katz would go on to produce many editions in lithography, etching, silkscreen, woodcut and linoleum cut. After 1964, Katz increasingly portrayed groups of figures. He would continue painting these complex groups into the 1970s, portraying the social world of painters, poets, critics, and other colleagues that surrounded him. He began designing sets and costumes for choreographer Paul Taylor in the early 1960s, and he has painted many images of dancers throughout the years. In the 1980s, Katz took on a new subject in his work: fashion models in designer clothing. In the late 1980s and 1990s, Katz focused much of his attention on large landscape paintings, which he characterizes as “environmental.” Rather than observing a scene from afar, the viewer feels enveloped by nearby nature. Katz began each of these canvases with “an idea of the landscape, a conception,” trying to find the image in nature afterwards. In his landscape paintings, Katz loosened the edges of the forms, executing the works with greater painterliness than before in these allover canvases. In 1986, Katz began painting a series of night pictures—a sharp departure from the sunlit landscapes he had previously painted, forcing him to explore a new type of light. Variations on the theme of light falling through branches appear in Katz’s work throughout the 1990s and into the 21st century. At the beginning of the new millennium, Katz also began painting flowers in profusion, covering canvases in blossoms similar to those he had first explored in the late 1960s, when he painted large close-ups of flowers in solitude or in small clusters. More recently Katz began painting a series of dancers and one of nudes, which was the subject of a 2011 exhibition at the Kestnergesellschaft in Hanover. Katz’s work continues to grow and evolve today. Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions internationally since 1951. In 2010, Alex Katz Prints was on view at the Albertina Museum in Vienna, which showed a retrospective survey of over 150 graphic works from a recent donation to the museum by Katz of his complete graphic oeuvre. The National Portrait Gallery in London presented an exhibition titled Alex Katz Portraits. In June 2010, The Farnsworth Art Museum in Rockland, Maine opened Alex Katz: New Work, exhibiting recent large-scale paintings inspired by his summers spent in Maine. Katz was also represented in a show at the Metropolitan Museum of Art, New York, curated by Marla Prather, entitled Facing the Figure: Selections from the Permanent Collection, 2010. In 2009-2010, Alex Katz: An American Way Of Seeing was on view at the Sara Hildén Art Museum, Tampere, Finland; Musée Grenoble, Grenoble, France; and the Museum Kurhaus Kleve, Kleve, Germany. In 2007, Alex Katz: New York opened at the Irish Museum of Modern Art, Dublin, Ireland. The show, which included approximately 40 paintings and aquatints, was the first exhibition to concentrate primarily on Katz’s relationship with his native city. The Jewish Museum, New York, presented Alex Katz Paints Ada in 2006-2007, an exhibition of 40 paintings focused on Katz’s wife, Ada, dating from 1957 to 2005. It coincided with an exhibition devoted to Katz’s paintings of the 1960s at PaceWildenstein, Alex Katz: The Sixties, on view from April 27 through June 17, 2006 at 545 West 22nd Street. Alex Katz in Maine, an exhibition of landscapes and portraits made over six decades, opened at The Farnsworth Art Museum and Wyeth...

Sphinx is an original Linocut Print realized by Mino Maccari in 1951. Very Good condition. No Signature. Mino Maccari (1898-1989) was an Ita...

Siren is a Linocut Print realized by Mino Maccari in 1951. Not signed, very good condition. Mino Maccari (1898-1989) was an Italian writer, painter, engraver and journalist, winner...

BREAD (Derecho Alimentarse) The Right To Eat, created by the African-American woman printmaker and sculptor, Elizabeth Catlett. BREAD portrays a realistic linoleum cut portrait of a...

Contemporary op art abstract linocut and woodcut print by Polish artist Ryszard Gieryszewski. Print is mostly black and white with red. Title of this artwork is 'Equivalent shapes'. ...