Art by Medium: Washi Paper

Woodcut on laid paper, 8 3/8 x 9 1/8 inches (212 x 233 mm), the full sheet. In excellent condition with text and portraits of Empedocles, Sapho, Zeuxis and others on the verso, as is...

Abstract Geometric Composition with Handmade Paper, Fibers and Acrylic on Canvas (Red) Whimsical abstract composition by an unknown artist (20th Century). Red acrylic paint makes up...

Paper size is 12 x 9 inches. Letraset, ink and pigment stick on handmade paper. Framed. Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before ...

Procession Of A Daimyo - Original Woodblock Print Original woodblock print depicting the procession of a Daimyo. Ten Japanese soldiers are seen as they aid in transporting the Daimy...

Tracey Emin My Heart is With You Always, framed with hand signed and inscribed tag, 2015 Embroidered Linen Handkerchief, Hand Signed, dated and Inscribed in Ink on attached tag Signe...

Engraving on light weight laid paper with an small indiscernible, alphabetic watermark, 9 x 7 1/2 (230 x 188 mm); sheet 11 1/4 x 8 1/2 inches (284 x 215 mm), wide margins. In very go...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

"Grave of Santa Anna's Leg" Original Woodblock Print, Signed Artist's Proof Boldly colored woodblock print by Carol Summers (American, 1925-2016). This piece is a segment of a grave, with a headstone that has a skull and cross. There are two bright green plants flanking the headstone. Below the headstone and plants, there is a large arched blue shape, with a crescent moon and stars. A red leg, bent at the knee, cuts across the blue arch. Signed "Carol Summers" along the right edge of the blue shape. Numbered and titled "A/P Grave of Sant Anna's Leg" along the left edge of the blue shape. Presented in a silver colored aluminum frame. Frame size: 32.245"H x 27.25"W Paper size: 29.75"H x 24.5"W Carol Summers (1925-2016) 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...

Agostino CARRACCI, after Jacopo TINTORETTO Sapientia Martem depellente Pax et Abundantia cogaudent; Mars driven away from Peace and Abundance by Minerva Engraving on handmade laid ...

Title: Portrait Of Samurai Medium: Woodblock Print Style: Ukiyo-e Size: 13 1/2"" x 9 1/2"" Frame Size: 18 1/2"" x 14 1/2"" Signature: Kunisada Provenance: Collection from E...

Rome: 1795. Each an engraving with extensive hand coloring on laid paper, some with a partial heraldic watermark, each 6 5/8 x 4 3/4 inches (165 x 120 mm); (sheet) 10 1/4 x 7 1/8 in...

Based in Andres, NY and West Orange, NJ, Lisa Pressman initially focused on sculpture before moving toward painting in the 1980s, shaped by Minimalism and Abstract Expressionism. In ...