Art by Medium: Woodcut

Auguste Kronheim was born in Amsterdam in 1937. The artist makes woodcuts and drawings. She received her training in drawing from Hanns Kobinger and graduated from the Linz Federal T...

Artist: Florence Grace Putterman, American (1927 - ) Title: Homage a Dito Year: 1982 Medium: Woodcut, signed in pencil Edition: TP Size: 27.5 x 39 in. (69.85 x 99.06 cm)

The Surgeon’s Photograph by Mychael Barratt [2022] limited_edition and hand signed by the artist Woodcut Print on Paper Edition number of 50 Image size: H:50 cm x W:49 cm Complete S...

Heckel, Erich (German 1883-1970). ZAUBERKUNSTLER (ERRINERUNG AN PAUL KLEE). Woodcut, 1956 Dube 416. Second state of two, signed, dated and titled in pencil. Edition size not known, M...

Wahini - Surfing Art - Figurative - Woodcut Print By Marc Zimmerman Limited Edition 01/04 This masterwork is exhibited in the Zimmerman Gallery, Carmel CA. Immerse yourself in the...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Zwei Frauen (Two Women)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut Engraving on wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Reference: Schapire No. 222, page 45; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Overall size with attached page: 8.5" x 10.63" Sheet size: 8.5" x 5.38" Image size: 6.5" x 3.63" Condition: Toning to sheet (as normal). A few tiny pinholes in right margin. In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcut engravings by Schmidt-Rottluff. Text by Alfred Brust. Presently attached to its accompanying page. The cover and title pages in pictures are not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died August 9, 1976, West Berlin [now Berlin]), German painter and printmaker who was noted for his Expressionist landscapes and nudes. In 1905 Schmidt-Rottluff began to study architecture in Dresden, Germany, where he and his friend Erich Heckel met Ernst Ludwig Kirchner and Fritz Bleyl...

Hell Canto 29 is a wood engraving on BFK Rives with an image size of 10 x 7" from the popular French edition of the portfolio. Framed in a classic, gold-tone frame. Cataloging: Micheler, R., & Löpsinger, L. (Eds.). (1995). Salvador Dalí Catalogue Raisonné of Prints II Lithographs and Wood Engravings 1956 – 1980. Prestel. pgs 102 -114. Field, A. (1996). The Official Catalog of the Graphic Works of Salvador Dalí. The Salvdor Dalí Archives. pgs. 189 – 200. Dante Alighieri’s The Divine Comedy...

Marc Chagall (1887-1985) - Poèmes, Planche XXI Collage, woodcut print from 1968. Trial proof - unique work. Dimensions of sheet: 32.5 x 25 cm Dimensions in frame: 53.2 x 43.2 cm ...

Salvador Dali (1904-1989) Paradise 3 - The The First Heaven From The Divine Comedy Original woodcut with the printed signature in the plate 1960/63 Printed on paper Vélin BFK Rives ...

Artist: Judy Rifka, American (1945 - ) Title: Still Life Year: 1986 Medium: Woodcut, signed and numbered in pencil Edition: 13/46 Image: 29 x 21 inches Size: 37 x 28 in. (93.9...

This is from the original first edition 1923 printing. there was a much later edition done after these originals. These are individually hand signed in pencil by artist as issued. This listing is for the one print. the other documentation is included here for provenance and is not included in this listing. The various images inspired by the Jewish Mysticism and rabbis and mystics of jerusalem and Kabbalah is holy, dramatic and optimistic Rubin succeeded to evoke the spirit of life in Israel in those early days. They are done in a modern art style influenced by German Expressionism, particularly, Ernst Barlach, Ernst Ludwig Kirchner, and Franz Marc, as introduced to Israel by Jakob Steinhardt, Hermann Struck and Joseph Budko. Reuven Rubin 1893 -1974 was a Romanian-born Israeli painter and Israel's first ambassador to Romania. Rubin Zelicovich (later Reuven Rubin) was born in Galati to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children. In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France, in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. He was of the well known Jewish artists in Paris along with Marc Chagall and Chaim Soutine, At the outbreak of World War I, he was returned to Romania, where he spent the war years. In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery. Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine. Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York. She was a Bronx girl who had won a trip to Palestine in a Young Judaea competition. He died in 1974. Part of the early generation of artists in Israel, Joseph Zaritsky, Arieh Lubin, Reuven Rubin, Sionah Tagger, Pinchas Litvinovsky, Mordecai Ardon, Yitzhak Katz, and Baruch Agadati; These painters depicted the country’s landscapes in the 1920s rebelled against the Bezalel school of Boris Schatz. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light. His early work bore the influences of Futurism, Vorticism, Cubism and Surrealism. In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the bible, the prophet, the biblical landscape, folklore and folk art, people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose naice style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters. In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters. His biography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin. Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York in 2007, his work accounted for six of the ten top lots. Along with Yaacov Agam and Menashe Kadishman he is among Israel's best known artists internationally. Education 1912 Bezalel Academy of Arts and Design, Jerusalem 1913-14 École des Beaux Arts, Paris and Académie Colarossi, Paris Select Group Exhibitions Eged - Palestine Painters Group Eged - Palestine Painters Group, Allenby Street, Tel Aviv 1929 Artists: Chana Orloff, Abraham Melnikoff, Rubin, Reuven Nahum Gutman, Sionah Tagger,Arieh Allweil, Jewish Artists Association, Levant Fair, Tel Aviv, 1929 Artists: Ludwig Blum,Eliyahu Sigad, Shmuel Ovadyahu, Itzhak Frenel Frenkel,Ozer Shabat, Menahem Shemi...

Medium: color woodcut. Catalogue reference: Gabler 44. Printed in Paris and published in 1953 by Editions d'Art d'Aujourd'hui, of Boulogne. Sheet size, including margins: 11 3/4 x 8 ...

Werner Drewes (1899-1983), Farm in the Woods, woodcut, 1933, signed and dated in pencil lower right (also numbered 1-xxx and titled lower left). Reference: Rose 83. In very good cond...

Salvador Dali (1904-1989) Hell 22 - The Liars Color woodcut with the signature printed in the plate 1960/63 Printed on paper Vélin BFK Rives Size 32,8 x 26,4 cm (c. 13 x 10 in) REF...

Purgatory Canto 22 is a wood engraving on BFK Rives with an image size of 10 x 7" from the popular French edition of the portfolio. Framed in a classic, gold-tone frame. Cataloging:...

Signed and titled in pencil Created along with an illustrated book project Song of Peace, 1950-1959. Woodcut printed in orange red ink on Japanese paper Sheet: 16 1/8 x 7"; ...

Engraving with wood carving matrix on paper 310 gr/m2, paper-work size 130cm x 49cm. Excellent condition, no defects. Grafica Lombardi guarantee stamp. Tommaso Cascella was born in...

Hawk 3 by Rod Nelson is a limited edition seascape print. The scene depicts the glinting of sunlight on a turquoise blue sea. Rod Nelson is a printmaker who...

Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts ...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Männlicher Kopf an weibliche (Male Head Leaning against Female)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut Engraving on wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Reference: Schapire No. 225, page 46; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Sheet size: 8.5" x 5.38" Image size: 6.25" x 3.57" Condition: Toning to sheet (as normal). In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcut engravings by Schmidt-Rottluff. Text by Alfred Brust. The cover and title pages in pictures are not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died...

The Dutiful Youth of Mino Province Collecting Wood to Warm His Old Father Color woodcut, c. 1842-43 Signed and sealed lower right (see photo) From the Series: "Honcho nijushi-ko" (Tw...

Hadar takes euphoric moments and try to generate a three dimensional feeling with every image inviting the viewer to jump into the game and to be part of it. There's a hidden message...

An abstracted composition containing a kneeling figure . this is a stamped print, woodcblock most likely artfully combined with moody watercolor. Stefan Alexander, born Czechoslovak...

A major figure of the contemporary street art movement, Shepard Fairey rose to prominence in the early 1990s with his “Andre the Giant Has a Posse” cam...

"Incredible String Band" is an original color woodcut, serigraph, and monotype by Carol Summers. It depicts classical architecture surrounding Summer...

Marc Chagall (1887-1985) - Poèmes, Planche II (trial proof) Woodcut print from 1968. Double-sided (front-verso) trial proof - unique work. Dimensions of sheet: 32.5 x 25 cm Dimen...

Lyonel Feininger, 'Three Masted Ship, 2 (Dreimastiges Schiff, 2)', woodcut, 1937, one of a small but unknown number of letterhead proofs; Prasse W296. Feininger estate stamp and inventory no. 'W 865' in pencil, bottom left sheet corner. Annotated 'W 296' and 'on block : 3702a' in pencil, bottom right sheet corner. A fine impression, on cream, laid, letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 1/4 x 2 11/16 inches; sheet size 10 x 6 3/4 inches. Archivally sleeved, unmatted. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) 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 crowned...

Ex-Libris  - Angiola Borrino is an Artwork realized in Mid 20th Century. Woodcut on paper. Good conditions. The artwork represents a minimalistic, clean design, through preciseness .

Woodcut in colors on vélin de Rives BFK paper, mounted on vélin d’Arches support, as issued. Paper size: 13 x 10.375 inches. Inscription: Signed in the block, and unnumbered, as issu...

Purgatory Canto 2 is a wood engraving on BFK Rives with an image size of 10 x 7" from the popular French edition of the portfolio. Framed in a classic, gold-tone frame. Cataloging: ...

Medium: original woodcut. Executed in 1920 for Das Kunstblatt, published in Berlin by Verlag Gustav Kiepenheuer. The total sheet measures 10 3/4 x 8 3/4 inches (275 x 210mm); the ima...

Hadar takes euphoric moments and try to generate a three dimensional feeling with every image inviting the viewer to jump into the game and to be part of it. There's a hidden message...

Wallersteiner, Jehuda Isaraeli 1915-2004). UNTITLED (WOMAN WEAVING). Woodcut in colors, not dated. Edition of 85. 38 x 26 inches.Signed in pencil and numbered. Framed, .

Artist: Charlie Hewitt, American (1946 - ) Title: Untitled - L Year: circa 1995 Medium: Woodblock, Signed and Numbered in Pencil Edition: 100 Image Size: 16 x 20 inches Size: 20 in. ...

Barton, John Murray. PORTRAIT OF A VASE. Color Woodcut, 1959. Edition of 100. Titled, numbered 1/100, signed and dated in pencil. 23 5/8 x 7 3/4 inches (image), 11 1/2 x 27 inches (s...

Ex libris - Nagy József  Könyve is an Artwork realized in 1932,  by the Artist Istvàn Olàh , from Hungary.  Woodcut print on ivory paper.  Signed on plate and dated on back. The wor...

Woodblock engraving on paper from the Divine Comedy series. Sheet size 13 x 10 inches. Frame size approx 18 x 15 inches. Edition 4,765 in French, 3,000 in Italian, 300 in German. ...

 Ex- Libris -  Birds is an Artwork realized in 1974.  Woodcut on paper. The work is glued on ivory cardboard. Hand Signed on the right margin and dated. Total dimensions: 19x11. G...

Medium: woodcut (engraved by Jacques Beltrand after Cezanne). This impression on cream laid paper was printed in 1914 and published by Bruno Cassirer and Theodore Duret. Image size: ...

"Toy Horse Dance" Japanese Woodblock Triptych with Beauties and Mt Fuji Vibrant three-panel woodblock print by Utagawa Toyohiro (Japanese,...

Medium: original woodcut. (Catalogue reference Roethel 203). Printed in 1975 on Arches paper for the "Homage to Kandinsky" special edition of the art revue XXe Siecle. Image size: 8 ...

Ex-Libris - Desire Acket is an Artwork realized in Mid 20th Century. Woodcut B./W. print on paper. The work is glued on cardboard. Total dimensions: 20 x 15 cm. Excellent condit...

Hell Canto 17 is a wood engraving on BFK Rives with an image size of 10 x 7" from the popular French edition of the portfolio. Framed in a classic, gold-tone frame. Cataloging: Mic...

Yunkers, Adja (American, born Latvia, 1900-1983). NANIGOS - CUBA, 1927. Miller 1. Color Woodcut. Edition of 250 published in Sweden in 1942 in the magazine Creation (Miller notes an ...

Woodcut on brownish-gray laid paper. Monogramed ‘HMP‘ upper left in the block. From a part edition of "Almanach auf das Jahr 1920 Fritz Gurlitt". Published by Verlag Fritz Gurlitt, B...

Ex Libris - Memento Vivere is a colored woodcut print created by Michel Fingesten. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a ...

View of Mount Fuji in Winter is a woodcut print realized by Katsushika Hokusai in the early 19th Century, probably around 1835. From the book "Fugaku hyakkei" (100 views of Mount Fu...

The present artwork is a vibrant and colorful example of the woodcut prints of Carol Summers. The image is dominated by the form of a red tropical flower, closely cropped around the petals like in the photographs of Imogen Cunningham and the paintings of Georgia O'Keeffe. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. 9.63 x 11.63 inches, artwork 21 x 23 inches, frame Edition 16/50 in pencil, lower right Titled in pencil, lower right Signed in pencil, lower center Framed to conservation standards using archival materials including 100 percent rag matting, Museum Glass to inhibit fading, and housed in a modern profile gold gilded wood moulding. 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. 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 Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MoMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and non-western as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Artist: Karl Schmidt-Rottluff (German, 1884-1976) Title: "Männlicher Kopf im Profil (Male Head in Profile)" Portfolio: Das Spiel Christa vom Schmerz der Schönheit des Weibes (The Play Christa from the Pain of the Beauty of the Woman) *Issued unsigned Year: 1918 Medium: Original Woodcut Engraving on wove paper Limited edition: Unknown Printer: Fritz Voigt, Berlin, Germany Publisher: Verlag Die Aktion, Berlin, Germany Reference: Schapire No. 219, page 45; Jentsch No. 35. Rifkind No. 2563; Lang No. 300; Reed No. 118 Overall size with attached page: 8.5" x 10.63" Sheet size: 8.5" x 5.38" Image size: 4" x 3.38" Condition: Toning to sheet (as normal). In very good condition Very rare Notes: Provenance: private collection - Oxnard, CA. Comes from a complete originally bound 48 page folio with 9 original woodcut engravings by Schmidt-Rottluff. Text by Alfred Brust. Presently attached to its accompanying page. The cover and title pages in pictures are not included, only for reference/provenance. There is an example of this work in the permanent collection of the Brücke Museum, Berlin, Germany. Biography: Karl Schmidt-Rottluff (born December 1, 1884, Rottluff, near Chemnitz, Germany—died...

Woodcut in colors on vélin pur chiffon de Rives paper. Paper size: 13 x 10.375 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné reference: Michler & Löpsin...

Jean-Emile Laboureur, Lassitude, 1912, woodcut, signed and numbered (24/35) in pencil. Reference: Sylvain Laboureur 682, third state (of 3). From the edition of about 35, published b...

Kristen Martincic earned her BFA from Bowling Green State University and her MFA from the University of Nebraska-Lincoln. The artist, who currently lives and works in Columbia, Misso...

Salvador Dali (1904-1989) Hell 33 - The Betrayers of their Hosts 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") R...

Signed and titled by the artist from the edition of 20. This woodcut is a bold graphic depiction of the Lockheed Constellation airplane, which was made in Southern California Romero...

"The Court Jesters" includes two original color woodcuts by Andre Derain. This is from an edition of 200. It features two vignettes of brightly-clad j...

This is a superb polychrome woodblock print (nishiki-e, ink and color on paper), likely realized by Utagawa Hiroshige (Japanese, 1797-1858) at the middle of 19th century. This plate ...

"Ichimura Hazaemon as Hatsuyumeya Mitsujiro" is a woodcut print by Toyoharu Kunichika in red, blue, and black. 14" x 9 1/2" art 20 3/4" x 16 3/4" framed From the series “First Per...

III by Kim Lim, 1991 Additional information: Medium: woodcut on paper 36 x 32.5 cm 14 1/8 x 12 3/4 in signed and dated in pencil verso Kim Lim was born in Singapore and spent much of her early childhood in Penang and Malacca. After her schooling in Singapore, Lim knew that she wanted to become an artist, and at eighteen, she enrolled at St. Martin's in London, where she spent two years concentrating mainly on wood carving. She then transferred to the Slade, where taught by the etcher Anthony Gross and lithographer Stanley Jones, she developed a strong commitment to print making. On journeys back to Singapore she stopped off in Europe and India, soaking up the art 'like a sponge'. These were the experiences that confirmed in her a lifelong predilection for things archaic, and for the flow and rhythm of Indian and South East Asian sculpture: " I found that I always responded to things that were done in earlier civilizations that seemed to have less elaboration and more strength." In Greece she was entranced by Cycladic sculpture. Of Chinese art she was moved most by early Shang bronzes, Han sculpture, Sung pottery...