Art by Medium: Woodcut

Camille BELTRAND (1877-1951) Seascape : Sailboats at Belle Isle, 1929 Original woodcut Handsigned in pencil Numbered /160 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind st...

HAP Grieshaber Untitled Wood block print in two colors Year: 1977 Size: 21 x 14 in Edition: 1,500 Signed in the plate Publisher: HMK Fine Arts, New Yor...

This large, horizontal diptych woodcut print on paper evokes the peacefulness of ocean waves depicted in shades of cobalt blue with purple undertones and the artist's addition of wat...

Henri AMEDEE-WETTER (1869-1929) Life in the Sea : Mermaid Maternity, 1922 Original woodcut Handsigned in pencil Numbered /105 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blin...

Robert BONFILS Gondolas on the Grand Canal in Venice Original woodcut Handsigned in pencil Numbered /154 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp of the edito...

Kabuki Actor is a woodcut print realized by Utagawa Kunisada in 1848/49. Lifetime impression in very good condition, except for some very minor sign of time.

Woodcut print from the Series "Der vreeselijke avonturen vas Scholastica" (The Terrible Adventures of Scholastica). Edition of 300, published by A. J. van Dishoeck. Unsigned, ass i...

Diptych. This two sheet color woodcut was created by Antonio Frasconi in 1951. Edition 8. Each image size 19 7/16 x 16 7/16" (49.4 x 418 cm) plus margins. Signed and titled in p...

Salvador Dali (1904-1989) - The Paradise, Canto 19 - The Language of the Bird Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publi...

The Disastrous War is a woodcut print on ivory-colored paper realized by Paul Baudier (1881-1962) in the 1930s. Good conditions. Paul Baudier, (born October 18, 1881 in Paris and d...

Fritz Eichenberg, 'The Steps', wood engraving, 1933, edition 200. Signed, titled, and annotated 'Ed. 200' in pencil. Initialed in the block, lower right. A superb, richly-inked impr...

"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...

"New Day" is an original wall-hanging sculpture by Dennis McNett made from woodcarving, sculpted epoxy head, woodcut prints and acrylic . This pieces measures 21.5"h x 19.5"w x 4.5"d...

Fritz Eichenberg, 'A Visit to the King of the Waters' from the suite 'The Adventurous Simplicissimus', wood engraving, 1977, artist's proof apart from the edition of 50. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 inches), in excellent condition. Image size 14 x 12 inches (356 x 305 mm); sheet size 17 1/2 x 15 inches (445 x 381 mm). Archivally sleeved, unmatted. ABOUT THIS WORK 'Simplicius Simplicissimus' (German: Der abenteuerliche Simplicissimus Teutsch) is a picaresque novel of the lower Baroque style, written in five books by Hans Jakob Christoffel von Grimmelshausen published in 1668, with the sequel Continuatio appearing in 1669. The novel is told from the perspective of its protagonist Simplicius, a rogue or picaro typical of the picaresque novel, as he traverses the tumultuous world of the Holy Roman Empire during the Thirty Years' War. Raised by a peasant family, he is separated from his home by foraging dragoons. He is adopted by a hermit living in the forest, who teaches him to read and introduces him to religion. The hermit also gives Simplicius his name because he is so simple that he does not know his own name. After the death of the hermit, Simplicius must fend for himself. He is conscripted at a young age into service and, from there, embarks on years of foraging, military triumph, wealth, prostitution, disease, bourgeois domestic life, and travels to Russia, France, and an alternate world inhabited by mermen. The novel ends with Simplicius turning to a life of hermitage, denouncing the world as corrupt. ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

Gaston Suisse (1896-1988) Panthère noire dans les bambous, 1927 Gravure sur bois, sur papier Velin de Van Gelder. Rehaussé aux lavis d’encre de Chine par l’artiste Signé en bas à gauche et daté 1927 en bas à droite Black panther in a forest of bamboos, 1927 A handcolored woodcut on Velin de Van Gelder paper Signed and dated 1927 Bibliographie /Literature Gaston Suisse, splendeur du laque art déco. Emmanuel Bréon. Somogy Éditions d'art, Paris 2013, reproduite page 105 (un autre exemplaire reproduit) The artist made a wood engraving of which he made about twenty prints himself. These proofs were not marketed as is, Gaston Suisse reworked each of the proofs using Indian ink washes in order to obtain different effects for each proof, which are thus unique original works. Born in 1896 in a family of artists, his father Georges was a close friend of Siegfried Bing and a great lover of Japanese art and a bibliophile. He passed his taste for art to his son whom he often took to draw at the Botanic Garden . Around 1910, Gaston Suisse, who hasn't entered yet the artistic school, met Paul Jouve, then 18 years his elder, who was already famous. In 1911, at the age of 17, he entered the National School of Decorative Art where he followed the teachings of Paul Renouard. Thanks to his knowledge and taste for the Japanese art, he chose lacquer painting as his specialty. His practice of this noble and demanding subject were so much appreciated that he was awarded with two gold medals in 1913 and 1914. Mobilized during the war , he joined the army and go in Salonika where he found his friend Jouve. In 1918, he finished his studies at the School of Applied Arts in order to perfect his training. He learned in particular the techniques of gilding and oxidation of metals. The first productions of Gaston Suisse, furniture and objects in lacquer with geometrical patterns, were an instant success and Suisse was appointed as member of Salon d'Automne in 1924, the very year of his first exhibition. Considered as an artist-decorator, his sincere and deep friendship with Jouve linked him in parallel with the groups of the animaliers of the Jardin des Plantes and became a close friend of Edouard-Marcel Sandoz. When travelling to Maghreb and Middle-East between 1923 and 1925, he produced numerous drawings representing antelopes, apes and fennec foxes...

Genji in the Twelve Months / The Tenth Month (Moto) is a tryptich woodcut print realized by Utagawa Toyokuni III in 1858. Very good condition except for some minor signs of wear.

Stephen White - Marion in Costume, Year: 1972, Medium: Woodblock on Japon, signed, dated, titled and numbered in pencil, Edition: AP, Image Size: 31 x 22.5 inches, Size: 35.5 x 25 in...

Paul Landacre, 'Hill', wood engraving, 1936, edition 60 (only 54 printed); only 2 impressions printed in a second edition of 150. Signed, titled, and numbered '49/60' in pencil. Wien...

"Gertrude" - Eleven Color Woodcut on Laid Rice Paper 2/45 Portrait of a woman by artist, Dan Miller (American, b. 1928) made by layers of color in woodcuts in Miller's signature sty...

The minimalist's dream, the large-scale iconic contemporary pop art Horizontal 'Spots' with multi-color dots by Damien Hirst is one of fifty-five limited edition woodcut prints on So...

Kabuki is an original artwork realized in 1862 by Utagawa Kunisada II (1823-1880). Boatman with elegant passenger in snowy landscape. Sign: Kochoro Kuni...

Sumo Fighters is an original Woodcut print realized in mid 19th century by Utagawa Kunisada. Good condition and Beautiful colored woodblock print. This wonderful modern artwork re...

Asagiri is a woodcut print realized by Utagawa Hiroshige in 1832. It is part of the suite "The Fifty-three Stations of Tokaido". Very good condition.

Woodcut on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°3, July-August-September 1938. Published and printed und...

Kabuki Scene is an original Woodcut print realized in mid 19th century after Utagawa Kuniyoshi (1797-1861). Good condition and Beautiful colored woodblock print. This wonderful mo...

Woodcut on wove paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, XXe Siècle, n°5-6, February-March 1939. Published and printed under th...

Lawrence Nelson Wilbur (1897-1988), 'Sundown, Stonington, Maine', wood engraving, artist's proof, edition not stated but small, 1969. Signed and titled in pencil. Signed in the block...

Kyoka-Tokaido is an original modern artwork realized after Utagawa Hiroshige (1797 – 12 October 1858) in 1925. Woodcut print Chuban Yokoe Format. Signed...

The Cultivation of Dictators is an original woodcut print by Primo Zeglio in the 1940s. Good conditions. The artwork is depicted through strong strokes in a well-balanced composition.

Susan Kiefer Rex Woodcut on paper Year: 2000 Size: 27x22in COA provided Ref.: 924802-1663 Framed woodcut print. A nude male figure in an armchair with striped and patterned backgrou...

Mitsuaki Sora, Japanese (1933 - ) - Three Birds, Year: 1972, Medium: Woodcut, signed, dated and numbered in pencil, Edition: 3/50, Image Size: 30 x 15 inches, Size: 37 x 25 in. ...

Kabuki is an original artwork realized in 1864 by Utagawa Kunisada II (1823 1880). Scene at night in a snowy forest, the actor Ichikawa Kodanji in the ro...

Sight and Sound is an original portfolio by Balthus including three coloured xilograph. Hand signed lower right. Edition of 51 numbered copies plus 5 a...

Richard Bosman (b. 1944) is a painter and printmaker known for his woodcuts depicting turbulent seascapes. He studied at Bryam Shaw School of Painting and Drawing in London, The New ...

Vol. In-Folio 45,2x34,2 cm., 205 pp. Edition of 220 copies including a xylographic vignette, 14 xylographic illustrations (on heads and footers of chapters) and 22 original lithograp...

"Paricutin (Volcano in Michoacan, Mexico)" is a woodcut and monotype signed by Carol Summers. In the image, an abstracted volcano erupts in a joyous burst of purples and oranges. 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. Art: 8 x 11 in Frame: 17 x 19 in 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...

Salvador Dali (1904-1989) - The Paradise, Canto 25 - St. James of Hope Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: L...

Teruta-hime is a woodcut print realized by Utagawa Kuniyoshi in 1842/43. Lifetime impression of chuban tate-e, it depicts Teruta-hime carrying a bucket of water through the snow, wi...

This artwork titled " Lendas Africanas Da Bahia" from the suite, 1978, is an original colors woodcut by renown Brazilian/Argentinian artist Hector Julio Paride Barnabo Carybe, 1911-1997. It is hand signed and numbered 83/200 in pencil by the artist. The Wood block mark (image) is 23.65 x 15.75 inches, sheet size is 26.75 x 19 inches. It is in excellent condition, has never been framed. It will be shipped in a 8 inches diameter heavy duty tube. About the artist: Héctor Julio Páride Bernabó (7 February 1911 – 2 October 1997) was an Argentine-Brazilian artist, researcher, writer, historian and journalist. His nickname and artistic name, Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after the meeting of a candomblé community's lay board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member. Quick Facts Born, Died ... Carybé Born Héctor Julio Páride Bernabó 7 February 1911 Lanús, Argentina Died 2 October 1997 (aged 86) Salvador, Bahia, Brazil Nationality Brazilian Known for Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist Close He produced thousands of works, including paintings, drawings, sculptures and sketches. He was an Obá de Xangô, an honorary position at Ilê Axé Opô Afonjá. Orixá Panels in the Afro-Brazilian Museum in Salvador Some of Carybé's work can be found in the Afro-Brazilian Museum in Salvador: 27 cedar panels representing different orixás or divinities of the Afro-Brazilian religion candomblé. Each panel shows a divinity with their associated implements and animal. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which originally installed them in its branch on Avenida Sete de Setembro in 1968. Murals at Miami International Airport American Airlines, Odebrecht and the Miami-Dade Aviation Department partnered to install two of Carybé's murals at Miami International Airport. They have been displayed in the American Airlines terminal at John F. Kennedy International Airport in New York since 1960. The 16.5 x 53-foot murals were accredited when Carybé won the first and the second prize in a contest of public art pieces for JFK airport. As its terminal at that airport was due for demolition, American Airlines donated the murals to Miami-Dade County, and Odebrecht invested in a project to remove, restore, transport and install the murals at Miami International Airport. The mural "Rejoicing and Festival of the Americas" portrays colorful scenes from popular festivals throughout the Americas, and "Discovery and Settlement of the West" depicts the pioneers’ journey into the American West. Carybé's Woodcuts in Gabriel García Márquez's Books Carybé illustrated four books by the Colombian writer Gabriel García Márquez, including One Hundred Years of Solitude, The Autumn of the Patriarch, Chronicle of a Death Foretold, and Love in the Time of Cholera "Carybé: um mestre da cultura baiana". ArqBahia Arquitetura, design, arte e lifestyle (in Brazilian Portuguese). 26 April 2023.. In particular, the woodcuts in One Hundred Years of Solitude are well-known for providing a visual image of the fictional town of Macondo, where the story takes place. The illustrations depict the colorful and winding houses, the railway bridge, and the hot and humid climate of the region, contributing to the reader's immersion in the story. Carybé's woodcuts are, therefore, an important part of Gabriel García Márquez's literary legacy, bringing a visual dimension to his stories that further enriches the reader's experience. Timeline 1911 — Birth in Lanús, Argentina. 1919 — Moved to Brazil. 1921 — The name Carybé is first given to him by the Clube do Flamengo scouts group, in Rio de Janeiro. 1925 — Beginning of his artistic endeavours, going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro. 1927–1929 — Studies at the National School of Fine Arts, in Rio de Janeiro. 1930 — Worked for the newspaper Noticias Gráficas, in Buenos Aires, Argentina. 1935–1936 — Works with the writer Julio Cortázar and as a draughtsman for the El Diario newspaper. 1938 — Sent to Salvador by newspaper Prégon. 1939 — First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fine Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro. 1940 — Illustrates the book Macunaíma, by Mário de Andrade. 1941 — Draws the Esso Almanach, the payment for which allows him to set on a long journey through Uruguay, Brazil, Bolivia, and Argentina. 1941–1942 — Study trip around several South American countries. 1942 — Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina). 1943 — Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina). 1944 — Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire ; as well as and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attends capoeira classes, visits candomblé meetings and makes drawings and paintings. 1945 — Does the illustrations for Daniel Defoe's Robinson Crusoe, for the Viau publishing house. 1946 — Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro. 1947 — Works for the O Diário Carioca newspaper, in Rio de Janeiro. 1948 — Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina). 1949–1950 — Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro. 1950 — Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia. 1950–1997 — Settles in Salvador, Bahia. 1950–1960 — Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho, and Jenner Augusto. 1951 — Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts. 1952 — Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP). 1953 — Illustrations for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ). 1955 — Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia. 1957 — Produces etchings, with original designs, for the special edition of Mário de Andrade's Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil. 1958 — Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ); Receives a scholarship grant in New York, USA. 1959 — Takes part in the competition for the New York International Airport panels project, in New York, USA, winning first and second prizes. 1961 — Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP). 1963 — Awarded the title of Honorary Citizen of Salvador, Bahia. 1965 — Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ). 1966 — With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP). 1967 — Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA). 1968 — Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia). 1969 — Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ). 1970 — Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA). 1971 — Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP). 1973 — Illustrations for Gabriel Garcia Marquez's A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury. 1974 — Produces woodcuts for the book Visitações da Bahia, published by Onile. 1976 — Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia. 1977 — Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ). 1978 — Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ). 1979 — Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile. 1980 — Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro. 1981 — Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research. 1982 — Receives the title of Honorary Doctor of the Federal University of Bahia. 1983 — Makes the panel for the Brazilian Embassy in Lagos, Nigeria. 1984 — Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA). 1985 — Designs the costumes and sets for the spectacle La Bohème, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio. 1992 — Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ). 1995 — Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP). 1996 — Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians. 1997 — Illustration of the book Poesias de Castro Alves. Exhibitions ммIndividual Exhibitions: 1943 — Buenos Aires (Argentina) — First individual exhibition, at the Nordiska Gallery 1944 — Salta (Argentina) — at the Consejo General de Educacion 1945 — Salta (Argentina) — Amigos del Arte, Buenos Aires (Argentina) — Motivos de América, at the Amauta Gallery, Rio de Janeiro RJ — individual exhibition at the IAB/RJ 1947 — Salta (Argentina) — Agrupación Cultural Femenina 1950 — Salvador BA — First individual exhibit in Bahia, at the Bar Anjo Azul; São Paulo SP — MASP. 1952 — São Paulo SP — MAM/SP 1954 — Salvador BA — Oxumaré Gallery 1957 — New York (USA) — Bodley Gallery; Buenos Aires (Argentina) — Bonino Gallery * 1958 - New York (USA) — Bodley Gallery 1962 — Salvador BA - MAM/BA 1963 — Rio de Janeiro RJ — Bonino Gallery 1965 — Rio de Janeiro RJ — Bonino Gallery 1966 — São Paulo SP — Astrea Gallery 1967 — Rio de Janeiro RJ — Santa Rosa Gallery 1969 — London (England) — Varig Airlines 1970 — Rio de Janeiro RJ — Galeria da Praça 1971 — Rio de Janeiro RJ — MAM/RJ, São Paulo SP — A Galeria; Belo Horizonte MG, Brasília DF, Curitiba PR, Florianopolis SC, Porto Alegre RS, Rio de Janeiro RJ and São Paulo SP — The Orixás Panel (exhibition tour), at the Casa da Cultura in Belo Horizonte, MAM/DF, the Public Library of Paraná, the Legislative Assembly of Santa Catarina State, the Legislative Assembly of Rio Grande do Sul, MAM/RJ and MAM/SP 1972 — The Orixás Panel in Fortaleza CE — at the Ceará Federal University Art Museum, and in Recife PE — at the Santa Isabel Theater 1973 — São Paulo SP — A Galeria 1976 — Salvador BA — at the Church of the Nossa Senhora do Carmo Convent 1980 — São Paulo SP — A Galeria 1981 — Lisbon (Portugal) — Cassino Estoril 1982 — São Paulo SP — Renot Art Gallery, São Paulo SP — A Galeria 1983 — New York (USA) — Iconografia dos Deuses Africanos no Candomblé da Bahia, The Caribbean Cultural Center 1984 — Philadelphia (USA) — Art Institute of Philadelphia; Mexico — Museo Nacional de Las Culturas; São Paulo SP — Galeria de Arte André 1986 — Lisbon (Portugal) — Cassino Estoril; Salvador BA — As Artes de Carybé, Núcleo de Artes Desenbanco 1989 — Lisbon (Portugal) — Cassino Estoril; São Paulo SP — MASP 1995 — São Paulo SP — Documenta Galeria de Arte, São Paulo SP — Casa das Artes Galeria, Campinas SP — Galeria Croqui, Curitiba PR — Galeria de Arte Fraletti e Rubbo, Belo Horizonte MG — Nuance Galeria de Arte, Foz do Iguaçu PR — Ita Galeria de Arte, Porto Alegre RS — Bublitz Decaedro Galeria de Artes, Cuiabá MT — Só Vi Arte Galeria, Goiânia GO — Época Galeria de Arte, São Paulo SP — Artebela Galeria Arte Molduras, Fortaleza CE — Galeria Casa D'Arte, Salvador BA — Oxum Casa de Arte Collective Exhibitions: 1939 — Buenos Aires (Argentina) — Carybé and Clemente Moreau Exhibition, at the Museo Municipal de Belas Artes 1943 — Buenos Aires (Argentina) — 29th Salon de Acuarelistas y Grabadores — first prize 1946 — Buenos Aires (Argentina) — Drawings by Argentine Artists, at the Kraft Gallery 1948 — Washington (USA) — Artists of Argentina, at the Pan American Union Gallery 1949 — Buenos Aires (Argentina) — Carybé and Gertrudis Chale, at the Viau Gallery; Salvador BA — Bahian Showroom of Fine Arts, at the Hotel Bahia 1950 — Salvador BA — 2nd Bahian Showroom of Fine Arts; São Paulo SP — MAM/SP 1951 — São Paulo SP — 1st São Paulo Art Biennial, Trianon Pavilion. 1952 — Salvador BA — 3rd Bahian Showroom of Fine Arts, at Belvedere da Sé; São Paulo SP — MAM/SP 1953 — Recife PE — Mario Cravo Júnior and Carybé, at the Santa Isabel Theater; São Paulo SP — 2nd São Paulo Art Biennial, at MAM/SP 1954 — Salvador BA — 4th Bahian Showroom of Fine Arts, at the Hotel Bahia. — Bronze medal 1955 — São Paulo SP — 3rd São Paulo Art Biennial, at MAM/SP — first prize for drawing 1956 — Salvador BA — Modern Artists of Bahia, at the Oxumaré Gallery; Venice (Italy) — 28th Venice Biennial 1957 — Rio de Janeiro RJ — 6th National Modern Art Show — exemption from the jury; São Paulo SP — Artists from Bahia, at the MAM/SP 1958 — San Francisco (USA) — Works by Brazilian Artists, at the Fine Arts Museums of San Francisco, Washington and New York (USA) — Works by Brazilian Artists, at the Pan American Union and the MoMA 1959 — Seattle (USA) — 30th International Exhibition, at the Seattle Art Museum; Salvador BA — Modern Artists of Bahia, at the Dentistry School. 1961 — São Paulo SP — 6th São Paulo Art Biennial, at MAM/SP — special room 1963 — Lagos (Nigeria) — Brazilian Contemporary Artists, at the Nigerian Museum; São Paulo SP — 7th São Paulo Art Biennial Bienal, at the Fundação Bienal 1964 — Salvador BA — Christmas Exhibition, at the Galeria Querino 1966 — Baghdad (Iraq) — collective exhibition sponsored by the Calouste Gulbenkian Foundation; Madrid (Spain) — Artists of Bahia, at the Hispanic Culture Institute; Rome (Italy) — Piero Cartona Palace; Salvador BA — 1st National Biennial of Plastic Arts (Bienal da Bahia) — special room; Salvador BA — Draughtsmen of Bahia, at the Convivium Gallery 1967 — Salvador BA — Christmas Exhibition at the Panorama Art Gallery; São Paulo SP — Artists of Bahia, at the A Gallery 1968 — São Paulo SP — Bahian Artists, at the A Gallery 1969 — London (England) — Tryon Gallery; São Paulo SP — 1st Panorama of Current Brazilian Art at the MAM/SP; São Paulo SP — Carybé, Carlos Bastos...

Dawn of Glory is an Original Woodcut Print on paper realized by Ettore di Giorgio in the Early 20th Century Good Conditions. The artwork is depicted through strong strokes in well-...

Bijinga is an original artwork realized in 1833-1835 by Utagawa Kunisada (1786-1865). Chuban. From the series "Tokaido gojusan tsugi no uchi" (The 53 Tokaido Stations). Courtesan i...

Salvador Dali (1904-1989) - The Purgatory, Canto 15 - Envy Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les Heures Cl...

Woodcut print from the Series "Der vreeselijke avonturen vas Scholastica" (The Terrible Adventures of Scholastica). Edition of 300, published by A. J. van Dishoeck. Unsigned, ass i...

Rockwell Kent, 'Sea and Sky', wood engraving, edition 150, 1931 (published 1932). A brilliant, richly-inked impression on cream wove Japan; the full sheet with margins (2 to 2 1/2 in...

Kabuki is an original artwork realized in 1864 by Utagawa Kunisada (1786-1865). Breast portrait of the actor Sawamura Toshi in front of a dark blue background, he's wearing a lion dance costume. In the inset portrait of Kataoka Nizaemon with a feather costume. Signed: Oshio Toyokuni ga (77 Toyokuni). Publisher: Ebiya Rinnosuke in Horie. Censorship: Aratame. Wood engraver: Matsushima Masakichi. Excellent impression with visible wood grain and baren print lines...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

Fritz Eichenberg, 'The Wolf and the Little Kids' from the suite 'Fables with a Twist', wood engraving, 1975-76, artist's proof apart from the edition of c. 50. Signed, titled, and annotated 'Artist’s Proof' in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (7/8 to 1 1/2 inches), in excellent condition. Complete with vellum folder with descriptive text in red and black linotype. Printed by master printer Harold McGrath at The Gehenna Press, Northampton, MA. Image size 13 15/16 x 12 1/8 inches (354 x 308 mm); sheet size 16 1/2 x 14 inches (419 x 356 mm). Archivally sleeved, unmatted. Collection: Harvard Museums. ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

The Stirrups of Musashi is an original modern artwork realized by Katsushika Hokusai in 1836. Mushae (double page, book 1836). B/W print. From the book "Ehon Musashi abumi" (The St...

Artist: Damien Hirst Title: Norcamphor from “40 Woodcut Spots" Year: 2011 Medium: Woodcut on 410gsm Somerset White Paper Edition: 43/55; signed (recto) and numbered (verso) in penci...

Abstract figurative woodblock print of a beach landscape with a boat. The print is stamped by the artist and titled and editioned in pencil. This print is editioned 47 of 86 and the print is not currently framed. Artist Biography: Born in Gastonia, North Carolina in 1924, John Biggers studied at Hampton Institute (now Hampton University) under Viktor Lowenfeld and muralist Charles White. In 1943, Biggers' mural, Dying Soldier, was included in the exhibition curated by Lowenfeld, Young Negro Art, at the Museum of Modern Art in New York. After serving in the United States Navy, Biggers transferred to Pennsylvania State University where he earned his bachelor’s and master’s degrees as well as his doctorate in art education. In 1949, Biggers accepted a faculty position at Texas State University for Negroes (now Texas Southern University) in Houston, where he founded and chaired the art department until his retirement. In the early 50s, he won prizes for his work at annual exhibitions held at the Museum of Fine Arts, Houston and the Dallas Museum of Art. In 1957, he traveled to Africa on a UNESCO fellowship to study Western African cultural traditions, becoming one of the first black artists to study the culture first-hand rather than through library research. His work was profoundly influenced by his experiences in Africa. He was known for his murals, but also for his drawings, paintings, and lithographs, and was honored by a major traveling retrospective exhibition from 1995 to 1997. He created archetypal imagery that spoke positively to the rich and varied ethnic heritage of African Americans, long before the Civil Rights era drew...

Emile BOIZOT Paris, Luxembourg Garden - 1920 Original woodcut Handsigned in pencil Numbered /165 On vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind...

Fritz Eichenberg, 'The Pimp', wood engraving, 1980, artist's proof before the edition. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 3/16 to 3 1/2 inches), in excellent condition. Archivally sleeved, unmatted. Image size 12 x 9 3/4 inches (305 x 248 mm); sheet size 18 x 14 inches (457 x 356 mm). ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

Antonio Diaz Cortes (Mexico, 1935) 'Encuentro' (meeting), 2006 woodcut on paper Velin Arches 300 g. 27.6 x 19.7 in. (70 x 50 cm.) P/A (Artist Proof), unique piece Unframed ID: DIA-10...

Yakushae is an original modern artwork realized by Utagawa Kunisada in 1856. Woodcut print Oban from a tryptich. An elderly lady has a worried conversation with a pretty young woma...

Bijinga is an original artwork realized in the half of the 19th Century by Utagawa Kunisada (1786-1865). From the series "SHyakunin isshu esho" (Girl's pictures and 100 poets' card...

Henri Clement-Serveau Art Deco : Women with Doves, 1925 Original woodcut Handsigned in pencil Numbered /160 On Perrigot vellum 32.5 x 25.5 cm (c. 13 x 10 in) Bears the blind stamp o...

Woodcut print realized by Paul Emile Colin in the early 20th Century. Beautiful proof of 2nd state, in only 2 copies. Edition 1/2. Hand signed and numbered in pencil.

This contemporary woodcut print on paper evokes the peacefulness of ocean waves depicted in bright, cerulean blue and vibrant cobalt. The woodcut print brings to mind the tradition o...

Nishiki-e (woodcut print), in vertical oban format (31x20.5) realized by Mizuno Toshikata in 1893 (Meiji 26). Belongs to the Series "Sanjûroku Kasen" (Thirty-Six Beauties in Compari...

Mushae is an original modern artwork realized by Utagawa Kuniyoshi (1798 – 1861) in the half of the 19th Century. Original woodcut print rom the se...