Art by Medium: Woodcut

Hajime Namiki, 'Tree Scene 159', color woodcut, edition 200, 2022. Signed in pencil and with the artist’s red seal. Titled, numbered '37/200' and dated, in pencil. A very fine impres...

Charles Turzak, 'La Salle and Washington Street (Chicago, Illinois)', woodcut, c. 1935, edition c. 25. Signed and titled in pencil. A fine, richly-inked impre...

Salvador Dali (1904-1989) Hell 22 - The Liars, 1963 Wood engraving from "Divine Comedy" with the signature printed in the plate On BFK Rives vellum 32,8 x 26,4 cm (c. 13 x 10") REF...

Lyonel Feininger, 'Die Architektur' (Architecture), also 'Stadtbild' (Cityscape), woodcut, edition proofs only in 1920; 50 in 1921. Prasse W 232. Signed in pencil. A fine, black impression, on off-white Japan, with full margins (1 1/4 to 2 1/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 6 x 8 7/8 inches (152 x 229 mm); sheet size 9 1/2 x 11 7/8 inches (241 x 302 mm). No. 11 of the portfolio 'Zwolf Holzschnitte von Lyonel Feininger', 1921. Provenance: Peter Deitsch collection; exhibited Weimar Museum, 1968. Impressions of this work are in the permanent collection of: Busch-Reisinger Museum (Cambridge, Mass.), Bauhaus-Archiv (Germany), Hamburger Kunsthalie (Germany), Pfaizische Landesgewerbeanstalt (Germany), Kaiser Wilhelm Museum (Germany), Staatliche Graphische Sammlung (Germany), Philadelphia Museum of Art. ABOUT THE ARTIST Lyonel Feininger was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral...

Andreani, Andrea (Italian, about 1558–1610), after Andrea Mantegna (Italian, 1431-1506) Chiaroscuro woodcut in colors printed from four blocks on laid paper in dark brown, grey, and...

Clare Leighton, 'Landing' from the series 'Lumber Camp', wood engraving, edition 100, 1931. Signed, titled, and numbered 75/100 in pencil. A fine, richly-inked impression, on off-whi...

Salvador Dalí’s Divine Comedy is a series of 100 color wood engravings, each corresponding to a canto from Dante Alighieri’s epic poem. Created between 1960 and 1964, these engraving...

A mischievous tableau with sexual overtones. Tokyo: Shuei-Sha, 1768. Woodblock print in colors printed on laid mulberry paper, 10 3/4 x 7 7/8 inches (273 x 200 mm), full margins. I...

Charles Turzak, 'The Workers (No. 2)', woodcut, edition 50, c. 1935. Signed and numbered 2/50 in pencil. A fine, richly-inked impression, on cream wove Japan paper, with full margin...

Charles Turzak, 'Under the Bridge', color woodcut, edition c. 50, 1934. Signed and titled in pencil. A fine, richly-inked impression, with fresh colors, on cream wove Japan paper; th...

Charles Turzak, 'Dancers', 1939, wood engraving, edition 100. Signed, titled, and numbered 72/100 in pencil. A fine, richly-inked impression, on off-white Japan paper, with full marg...

Charles Turzak, 'Loop Alley (Chicago)', color woodcut, edition c. 25, c. 1935. Signed and titled in pencil. A fine, richly-inked impression, with fresh colors, on cream wove Japan pa...

David Jones (1895-1974) ‘And the Angel Said: Fear not’ Woodcut Image: 9.0 x 5.5 cm Frame: 21.0 x 19.5 cm David Jones CH, CBE (1 November 1895 – 28 October 1974) was a Welsh paint...

Mokuchu URUSHIBARA Rearing Horse, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 26 x 32 cm (c. 10,2 x 12.5 in) INFORMATION : Engraving published b...

This exquisite woodcut by Wassily Kandinsky (1866–1944), titled Komposition (Composition), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Laz...

Elwood Warren Bartlett is a Wisconsin native who also worked in Indiana. Largely self taught as a printmaker, Bartlett worked in a style that once identified as his, immediately t...

Medium: original woodcut. Printed in 1920 for the Deutsche Graphiker der Gegenwart portfolio, and published in Leipzig by Klinkhardt & Biermann in an edition of 500. Catalogue re...

Salvador Dali (1904-1989) - The Paradise, Canto 32 - Preparation for Final Prayer Original woodcut from 1960. Dimensions of work: 33 x 26.2 cm Publisher: Les Heures Claires, Paris...

Jose Luis Cuevas (Mexico, 1934-2017) Artist Proof 'Fantasmas del Centro Histórico V', 2004 woodcut on paper Guarro Biblos 250g. 20.9 x 16 in. (53 x 40.5 cm.) Edition of 60 Unframed I...

signed and numbered lower right edition of 60 Catalogue raisonné 00717 Published by Simmelink Sukimoto Editions Internationally recognized painter and printmaker Alex Katz was born...

This piece titled "Philly Street XIII" is an original piece by Alexis Nutini and is made from a woodcut and found object stencil monoprint. This piece me...

Set of 12 woodblock prints in colors on handmade, laid mulberry paper, 6 3/4 x 10 1/4 inches (170 x 258 mm), printed in Ka-ei 4 (1851). Each print with minor handling wear, otherwise in excellent condition with bright and fresh color, and with details printed in silver ink. The images themselves contain several illusive characters indicating the publisher which are obfuscated by figures, as intended. Presented loose, as issued. A fine set. The astrological commentary print has a large and meandering blind stamp with a bird and palm frond motif. This print lists various phrases concerning the Twelve Zodiac Animals as historically counted in Japan, and appears to include erotic commentary on the traits of people born under each of the twelve signs. These Shunga images were issued in books that paralleled (in an erotic fashion...

circa 1950. Woodblock print in black and gray ink on Japon laid paper, 10 1/4 x 15 3/4 inches (260 x 398 mm), full margins. With the artist's embossed chop mark in red ink in the l...

Mokuchu URUSHIBARA Horse bowing, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 26 x 35 cm (c. 10.2 x 13.7 in) INFORMATION : Engraving published by...

Artist: Jim Dine Title: Dynamite Year: 1998 Medium: Woodcut, aquatint, etching and power tool drypoint in colors on Folio Antique paper Edition: 18; signed, numbered and dated in pen...

Mokuchu URUSHIBARA Koi Carp, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 30 x 24 cm (c. 11.81 x 9.44 in) INFORMATION : Engraving published by Mo...

Salvador Dali (1904-1989) Hell 24 - The Thieves Original woodcut Printed signature in the plate 1960/63 Printed on paper Vélin BFK Rives Size 32,8 x 26,4 cm (c. 13 x 10") REFERENCE...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

John Tarrell Scott, 'St. George', woodcut, edition 20, 1992. Signed, dated, titled, and numbered '18/20' in pencil. A fine, black impression, on off-white, laid Japan paper, with ful...

Georges Rouault Crucifixion Woodcut and embossing (Raymond Jacquet workshop) Printed signature in the plate On Arches vellum 15 x 11" (38 x 28 cm) INFORMATION : Woodcut published i...

Artist: Utagawa Hiroshige (Hiroshige Ando 1797-1858) Title: The Tanabata Festival Series: One Hundred Famous Views of Edo (名所江戸百景) Size: O-ban 大判 Age: 1857

Artist: Roy Lichtenstein Title: Nude With Blue Hair Medium: Relief print on Rives BFK mold-made paper Date: 1994 Edition: 28/40 Sheet Size: 57 7/8" x 37 5/8" Image Size: 51 5/16" x 3...

Salvador Dali (1904-1989) Purgatory 13 - The Second Terrace Color woodcut on paper Printed signature 1960/63 Printed on paper Vélin BFK Rives Size 32,8 x 26,4 cm (c. 13 x 10") REFE...

This framed engraving entitled "Birds-eye View of the Southern End of New York and Brooklyn, Showing the Projected Suspension-Bridge Over the East River, From the Western Terminus in Printing-House Square, New York" by Theodore R. Davis (1840–1894) was published as a supplement of Harper's Weekly, November 19, 1870. The print is presented in a maple frame and a double mat. The frame measures 23.5" high, 29" wide and 0.75" deep. There is a vertical center fold and additional vertical lines, where wood engraving blocks were joined for the printing process. It is in excellent condition. This framed image depicting New York in 1870 was a centerfold for the November 19, 1870 issue of Harper's Weekly. It includes the site and eventual appearance of the East River New York-Brooklyn Bridge; the name later shortened to the Brooklyn Bridge. The print was issued eleven months after the start of construction of the bridge on January 2, 1870, which would take another 12.5 years to complete. When this view was drawn, work on the bridge was all below ground, constructing the supports for the bridge’s towers. Labels in the upper portion of the print identify locations in the background including "Light Ship...

For over thirty years, Nozkowski has practiced his own form of idiosyncratic abstraction, foregoing a signature style or subject matter in favor of seemingly limitless variations in ...

Robert Vale Faro, 'Bullfight', wood engraving, 1945, edition 15. Signed, dated, titled, and numbered '105' (the artist's inventory number) and '13/15' in pencil. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/16 to 2 3/8 inches), in excellent condition. Scarce. Matted to museum standards, unframed. Image size 5 1/16 x 4 1/16 inches (129 x 103 mm); sheet size 8 9/16 x 6 5/16 inches (217 x 160 mm). An impression of this work is included in the museum collection of the National Gallery of Art. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller, and Anne Ryan as New York members and Francine Felsenthal...

This artwork titled, "La Deesse de Cythere" from the suite, "l'Art d'Aimer d'Ovide" 1976. is an original wood engraving on Japan nacre paper by artist Salvador Dali 1904-1989. It i...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

This Winslow Homer woodcut engraving entitled "Skating on the Ladies' Skating-Pond in Central Park, New York", was published in Harper's Weekly in the January 28, 1860 edition. It depicts a large number of men, women and children skating on a recently opened pond in Central Park. At the time of publication of this engraving, Central Park was in the early stages of construction. This engraving documents the very early appearance of Frederick Law Olmstead and Calvert Vaux's masterpiece of landscape design. According to Olmsted, the park was "of great importance as the first real Park made in this century – a democratic development of the highest significance". The people of New York were very proud of the plans for their park. It was stated at the time: "Our Park, which is progressing very satisfactorily under the management of the Commissioners, will undoubtedly be, one of these days, one of the finest place of the kind in the world...Those who saw the Park before the engineers went to work on it are amazed at the beautiful sites which have been contrived with such unpromising materials; all fair persons believe that the enterprise is managed with honesty and good taste." Skating was rapidly rising in national popularity in part due to the opening of Central Park’s lake to skaters on a Sunday in December 1858 with 300 participants. The following Sunday it attracted ten thousand skaters. By Christmas Day, a reported 50,000 people came to the park, most of them to skate. There were rules governing who could use the skating pond. “The Ladies’ Pond...

Wonderful genre woodcut of a scene from Emily Bronte's "Wuthering Heights" titled "Death of Earnshaw" by Clare Leighton (British/American, 1898 - 198...

Black Cat is an Original Woodcut Print realized in the Mid-20th Century by Giselle Halff (1899-1971). Good condition, monogrammed on the lower right corner. Giselle Halff (1899-197...

Charlie Hewitt, American (1946 - ) - Shisha, Year: 1991, Medium: Woodcut on thin wove paper, signed, titled, numbered and dated in pencil, Edition: Working Proof, Image Size: 29 ...

Morris Blackburn, 'Avalon South', wood engraving, 1951, edition 30. Signed, titled, and numbered '12/30' in pencil. A fine black impression on cream wove Japan paper, with wide margins (1 3/8 to 2 1/4 inches), in excellent condition. Archivally sleeved, unmatted. Image size 5 x 7 inches (127 x 178 mm); sheet size 8 5/8 x 10 7/8 inches (219 x 276 mm). ABOUT THE ARTIST Morris Blackburn was a prominent painter, printmaker, and graphic artist, as well as a respected teacher at the Philadelphia Museum School of Industrial Art and the Pennsylvania Academy of Fine Arts. Born in Philadelphia, where he spent most of his career, Blackburn was a descendant of the notable colonial portrait artist Joseph J. Blackburn (c. 1700–1780). He developed an interest in art early on and studied architectural drawing at the Philadelphia Trade School. In 1922, he took classes at the Graphic Sketch Club and later attended the School of Industrial Art. While working for the well-known Philadelphia furniture designer Oscar Mertz, he studied at the Pennsylvania Academy of the Fine Arts from 1925 to 1929. During his studies, he learned painting from Henry Bainbridge McCarter...

Hiroshi Yoshida, 'Chion-in Temple Gate (Sunset)' from the series 'Eight Scenes of Cherry Blossoms (Sakura hachi dai: Sakura mon)', color woodblock print, 1935. Signed in brush 'Yoshida' and in pencil 'Hiroshi Yoshida'. A superb, early impression, with fresh colors; the full sheet with margins, on cream Japan paper; an area of slight toning in the top right sheet corner, not affecting the image, otherwise in excellent condition. Marked with a jizuri (self-printed) seal, upper left margin. Self-published by the artist. Image size 9 5/8 x 14 3/4 inches (444 x 375 mm); sheet size 10 7/8 x 16 inches (276 x 406 mm). Archivally sleeved, unmatted. Provenance: M. Nakazawa, Tokyo. Literature: Japanese Landscapes of the 20th Century (Hotei Publishing calendar), 2001, May. Collections: Honolulu Museum of Art, Museum of Fine Arts, Boston. ABOUT THE IMAGE Located in Kyoto, Chionin is the main temple of the Jodo sect of Japanese Buddhism, one of the most popular Buddhist sects in Japan, having millions of followers. The Sanmon Gate, Chionin's entrance gate, standing 24 meters tall and 50 meters wide, it is the largest wooden temple gate in Japan and dates back to the early 1600s. Behind the gate, a broad set of stairs leads to the main temple grounds. ABOUT THE ARTIST Painter and printmaker Yoshida Hiroshi (1876-1950) is regarded as one of the greatest artists of the Japanese 'shin hanga' (New Print) movement. Yoshida was born as the second son of Ueda Tsukane in Kurume, Fukuoka Prefecture, a schoolteacher from an old samurai family. In 1891 he was adopted by his art teacher Yoshida Kasaburo in Fukuoka and took his surname. In 1893 he went to Kyoto to study painting, and the following year to Tokyo to join Koyama Shotaro's Fudosha private school; he also became a member of the Meiji Fine Arts Society. These institutions taught and advocated Western-style painting, greatly influencing Yoshida’s artistic development. In 1899 Yoshida had his first American exhibition at Detroit Museum of Art (now Detroit Institute of Art), making the first of many visits to the US and Europe. In 1902 he helped reorganize the Meiji Fine Arts Society, renaming it the Taiheiyo-Gakai (Pacific Painting...

Three soft yellow lights shine from windows, beacons from the homes at the end of our path, middle right. At left a canal flows into the sea, and textured clouds float in an early ev...

( Valentines-gift-guide Collection ) This is an authentic Japanese woodblock print by Ohara Koson (Shoson), titled Two (koi) Carp or Carp and Water Chestnut; originally created in th...

WILLIAM HOGRATH (1767- 1764) THE BATHOS / Tail Piece 1764 (Paulson 1989: 216 I/I Paulson 1965/70: 216 I/I) Engraving Plate 12 7/8 x 13 3/8, sheet 17 ¾ x 18 ¾ Designed & Engrav’d by Wm Hogarth at left and Published according to Act of Parliam’t March 3, 1764 at right. Good condition on thick laid paper Small bit of tape on the left & right sheet edges small stan lower sheet edge all on recto. This Hogarth’s last print is fascinating as it is prophacy about death. Various institutions have interesting commentaries - to wit: Chicago Art Institute: Hogarth created The Bathos toward the end of his life. It is considered one of the bleakest artworks of the 18th century because it depicts the Apocalypse without an afterlife. The Angel of Death even collapses in exhaustion after having destroyed the world. In his hand is an execution decree and around him lies a mass of broken objects. Princeton: Hogarth’s last print, The Bathos,….. is filled with all manner of images denoting the end of life as we know it. Entry no. 216 in Ronald Paulson’s catalogue raisonne Hogarth’s Graphic Works, 3rd revised edition says “This print is the culmination of such pessimistic images . . . . [taking] his general composition, the configuration of objects, and some of the particular items, from Dürer’s engraving, Melancholia; but he also recalls Salvator Rosa’s Democritus in Meditation (which derives from Dürer’s print) with a scroll at the bottom of the etching: ‘Democritus the mocker of all things, confounded by the ending of All Things’ (Antal, p.168).” Newfields (Indianapolis Museum of Art): Hogarth intended this engraving to serve as the tailpiece to bound volumes of his collected engravings and, appropriately, it proved to be his last engraving. Father Time has died and his last will and testament has been witnessed by the three Fates. He is surrounded by a landscape of death, decay, and ruin. Hogarth aimed this print at dealers in “dark” Old Masters paintings who promoted the idea that ruins evoked sublime feelings in viewers—a sentiment, Hogarth wrote, that was reducing the world to ruin. British Caricature...

Anonymous, Japanese Kimono Fabric Design, color woodcut, c. 1930. A superb impression, with fresh colors, fine graduations, and metallic gold motifs, on ...

Mokuchu URUSHIBARA Pair of horses playing (red), c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 28 x 39 cm (c. 11.02 x 15.35 in) INFORMATION : Engr...

Ohtsu Kazuyuki, 'Kyo no Aki - Komyō-ji' (Komyō-ji temple at Autumn in Kyoto), large-scale color woodblock print, ed. 100, 2012. Signed, titled in Japanese, numbered 78/100, and date...

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...

Medium: original woodcut. Catalogue reference Roethel 145. Printed in Paris in 1938 for the art revue XXe Siecle (issue number 3). Image size: 7 x 8 1/2 inches (170 x 218 mm). Sheet ...

Kawase Hasui, 'Zentsuji Temple in the Rain' from the seres 'Collected Views of Japan II', color woodblock print, 1937. Signed Hasui in black ink, with the artist’s red seal Kawase, ...

This piece titled "Portalito" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 7.25"h x 9.5"w. Born in Mexico City, ...

Poem 71-25 (Me) Color woodcut with cement mold embossing, 1971 Signed, titled and numbered in pencil (see photos) Edition 100 (55/100) (see photo) Signed with the artist's stamp lowe...

Kawase Hasui, 'The Beach at Kaiganji in Sanuki Province (Sanuki Kaiganji no hama),' from the series Collected Views of Japan II, Kansai Edition (Nihon fûkei shû II Kansai hen), woodblock print, 1934. A very fine, atmospheric impression, with fresh colors; the full sheet, in excellent condition. Signed 'Hasui' with the artist’s seal 'Kawase', lower left. Published by Watanabe Shozaburo with the Watanabe ‘D’ seal indicating an early impression printed between 1931 - 1941. Stamped faintly 'Made in Japan' in the bottom center margin, verso. Horizontal ôban; image size 9 3/8 x 14 1/4 inches (238 x 362 mm); sheet size approximately 10 5/16 x 15 1/2 inches ( 262 x 394 mm). Collections: Art Institute of Chicago; Austrian Museum of Applied Arts (Vienna); Honolulu Museum of Art; Museum of Fine Arts, Boston; National Museum in Warsaw; University of Wisconsin-Madison. ABOUT THE ARTIST “I do not paint subjective impressions. My work is based on reality...I can not falsify...(but) I can simplify…I make mental impressions of the light and color at the time of sketching. While coloring the sketch, I am already imagining the effects in a woodblock print.” — Kawase Hasui Hasui Kawase...

Four trees. Paper, wood carving, 29x29 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1...

Tiger Lily Color woodcut, 1939 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1940) Condition: Excellent Image/sheet size: 15 3/8 x 10 7/8 inches Provenance: Robert O. Muller Estate Biography Hodo Nishimura...

Figure is an original woodcut print realized by Amadore Porcella. The state of preservation of the artwork is very good. Passepartout dimension: ...

Shunga is an original modern artwork realized by Katsukawa Schuncho (1726 – 1793) in the half of the 18th Century. Oban yokoe. Erotic scene from the series "Koshuko zue juni ko" (Erotic pictures...