Art by Medium: Woodcut

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...

Courtesan is an original modern artwork realized by Keisai Eisen in the first half of the 19th Century. Signed and inscribed on plate. Total dimension...

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...

Three surfers carving up the Hawaiian waves, having a blast in the tropical surf. 3 Turns - Surfing Art - Figurative Print - Woodcut Print By Marc Zimmerman Limited Edition 01/05 ...

Paul Landacre, 'Laguna Cove', wood engraving, 1935; edition 60 (16 printed), 2nd edition 150 (6 printed), Woodcut Society 200, Wien 247. Signed and titled in pencil. A brilliant, black impression, on cream wove Japan, with full margins (3/4 to 1 3/4 inches), in excellent condition. Archivally matted to museum standards, unframed. This impression is from the edition published for the Twentieth Presentation Print of the Woodcut Society, 1941. Printed by Torch Press, Cedar Rapids. Literature: Reproduced in 'James Swann...

Woodcut on BFK Rives paper, produced in 2020. Edition of 100. Mint condition, unframed. Signed and numbered in pencil by Nicolas Party.

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...

Lawrence Nelson Wilbur (1897-1988), 'Tranquil Harbor' (Gloucester, Massachusetts), wood engraving, edition 55, 1958. Signed in pencil, and signe...

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...

Eugene Larkin Quartet No. 1 Woodcut in two colors Signed and titled by hand Size: 20 x 29.5 inches COA provided Eugene Larkin (1921-2010) The late Eugene Larkin was an artist who worked in the Twin Cities area for many years and needs little introduction. His works have been shown, collected and appreciated by numerous galleries, museums and collectors throughout the United States. Larkin was influential both as an artist and as a teacher. He taught at the Minneapolis College of Art and Design between 1954 and 1969, where he was head of printmaking and Chairman of the Division of Fine Arts. From 1969-1991 he was a professor in the Design Department at the University of Minnesota. Eugene Larkin, a lithographer, teacher and artist who left behind scores of works, some of them in the permanent collections of the Library of Congress and the Museum of Modern Art. He was considered an early promoter of lithography education, Larkin introduced it into arts programs while teaching at the Minneapolis College of Art and Design and the University of Minnesota. He held a prominent place in the art world through decades of working and teaching in Minneapolis. His work depicted a wide range of subjects, from musicians to nature, including a series of woodcuts based on William Blake's ""Songs of Innocence and Experience." Larkin also wrote a textbook, ""Design: The Search for Unity."" It was his work with lithography, an 18th-century printmaking process, for which he was best known. His last local exhibit was a retrospective at The University of Minnesota Weisman Museum in 2005. ""Sometimes I start the artistic process from a literary source - Adam and Eve, the Egyptian nature gods, or classical Greek themes but sometimes I start from nature. Trees have always been a favorite subject. I see trees as people, as vertical objects...

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...

Rockwell Kent, 'Mountain Climber', wood engraving, 1933, edition 250, Burne Jones 93. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 9/16 to 3 5/8 inches); slight skinning at the top sheet edge verso, where previously hinged; otherwise, in excellent condition. Archivally matted to museum standards, unframed. Image size 7 7/8 x 5 7/8 inches (200 x 149 mm); sheet size 14 x 11 1/8 inches (356 x 283 mm). Printed by Pynson Printers, New York. Distributed by The Print Club of Cleveland, Publication No. 11, 1933. Literature: 'Rockwellkentiana,' Harcourt, Brace and Company, New York, 1933. '101 of The World’s Greatest Books', edited by Spencer Armstrong, 1950. Impressions of this work are held in the following museum collections: Akron Art Institute, Burne Jones Collection, IL; Cincinnati Art Museum; Cleveland Museum of Art; Columbus Gallery of Fine Arts; Crystal Bridges Museum of American Art; Davis Museum at Wellesley College; Fine Art Museums of San Francisco; H. M. de Young Museum; Hermitage Museum; Kent Collection, NY; Library of Congress; Memorial Art Gallery, University of Rochester; Metropolitan Museum of Art; New York Public Library; Philadelphia Museum of Art; Princeton University Library; Smithsonian American Art Museum, Spector Collection, NY; SUNY, Plattsburg. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock. In 1905 Kent moved from New York to Monhegan Island in Maine, home to a summer art colony, where he continued to find inspiration in nature. Kent soon found success exhibiting and selling his paintings in New York, and in 1907, he was given his first solo show at Claussen Galleries. The following year he married his first wife, Kathleen Whiting (Thayer’s niece), with whom he had five children. The couple divorced in 1924, and Kent married Frances Lee the following year. They divorced after 15 years of marriage, and the artist married Sally Johnstone. For the next several decades, Kent lived a peripatetic lifestyle, settling in several locations in Connecticut, Maine, and New York. During this time he took several extended voyages to remote, often ice-filled, corners of the globe, including Newfoundland, Alaska, Tierra del Fuego, and Greenland, to which he made three separate trips. For Kent, exploration and artistic production were twinned endeavors, and his travels to these rugged, elemental locations inspired his visual art and his writings. He developed a stark, realist landscape style in his paintings and drawings that revealed both nature’s harshness and its sublimity. Kent’s human figures, which appear sparingly in his work, often allude to the mythic themes of isolation, individualism, heroism, and the quest for self-connection. Important exhibitions of works from these travels include the Knoedler Gallery’s shows in 1919 and 1920, featuring Kent’s Alaska drawings...

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...

Takanawa no kihan is a modern artwork realized between 1843 and 1847 after Utagawa Hiroshige. Ukiyo-e color woodblock print from the Touto hakkei (The Eight Famous Views of the Capital of the East) series. Mounted under passepartout. The artwork depicts the port of Takanawa, a suburb of Minato in southern Tokyo, and is one of the very rare sheets by Utagawa Ando Hiroshige...

The old style is an Artwork realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Colored woodcut on paper. Hand-signed on the lower, numbered 4/89 specimens and titled on ...

Shunga, Love plays is an original artwork realized in the 1850s by Utagawa Kunisada (1786-1865). Good print with gold. Backed, restored wormholes and missing oarts, glued at upper ...

Lou Barlow (Louis Breslow), 'On the Beach' (Coney Island) wood engraving, c. 1937, edition c. 25. Signed and titled in pencil. Stamped 'FEDERAL ART PROJECT NYC WPA' in the bottom left margin. A fine, richly-inked impression, with all the fine lines printing clearly, on cream wove paper, with full margins (1 1/2 to 3 inches), in excellent condition. Matted to museum standards, unframed. Scarce. Image size 11 x 8 1/8 inches; sheet size 16 x 11 3/8 inches. Created during the Great Depression for the Works Progress Administration (WPA), Federal Art Project, New York City. Impressions of this work are in the permanent collections of the Amon Carter Museum of Art, Illinois State Museum, and the New York Public Library. ABOUT THE IMAGE Due to Coney Island's proximity to Manhattan, Brooklyn, and other New York boroughs, it began attracting vacationers in the 1830s and 1840s. Most of the vacationers were wealthy and went by carriage roads and steamship services that reduced travel time from a formerly half-day journey to two hours. By the late 1870s, the development of Coney Island's amusement park attractions and hotels drew people from all social classes. When the Brooklyn Rapid Transit Company electrified the steam railroads and connected Brooklyn to Manhattan via the Brooklyn Bridge at the beginning of the 20th century, Coney Island turned rapidly from a resort to an accessible location for day-trippers seeking to escape the summer heat in New York City's tenements. In 1915, the Sea Beach Line was upgraded to a subway line, and the opening of the Stillwell Avenue station in 1919 ushered in Coney Island's busiest era. On the peak summer days, over a million people would travel to Coney Island. In 1937, New York City purchased a 400-foot-wide strip of land along the shoreline to allow the boardwalk to be moved 300 feet inland. At this point, Coney Island was so crowded on summer weekends that parks commissioner Robert Moses...

Rockwell Kent, 'The Bather', wood engraving, 1931, edition 120, Burne Jones 63. Signed in pencil. A brilliant, black impression, on cream, wove Japan paper; the full sheet with margins (2 1/2 to 3 1/4 inches); slight skinning at the top sheet edge, verso, otherwise in excellent condition. Archivally matted to museum standards, unframed. Image size 5 3/8 x 7 7/8 inches (137 x 200 mm); sheet size 11 1/8 x 14 1/2 inches (283 x 368 mm). Impressions of this work are held in the following public collections: Burne Jones Collection (Illinois), Chazen Museum of Art, Chegodaev Collection (Moscow), Kent Collection (New York), National Gallery of Art, Philadelphia Museum of Art; SUNY Plattsburg Art Museum, Princeton University Library, Pushkin Museum (Moscow), Smithsonian American Art Museum, Spector Collection (New York), University of Illinois. ABOUT THE ARTIST Rockwell Kent (1882-1971), though best known as a painter, graphic artist, and illustrator, pursued many careers throughout his life, including architect, carpenter, explorer, writer, dairy farmer, and political activist. Born in Tarrytown, New York, Kent was interested in art from a young age. These ambitions were encouraged by his aunt Jo Holgate, an accomplished ceramicist. Jo came to live with the family after Kent’s father passed away in 1887 and took him to Europe as a teenager, undoubtedly kindling his interest in exploring the world. Kent attended the Horace Mann School in New York City, where he excelled at mechanical drawing. His family’s financial circumstances prevented him from pursuing a career in the fine arts; however, after graduating from Horace Mann in 1900, Kent decided to study architecture at Columbia University. Before matriculating at Columbia, Kent spent the first of three consecutive summers studying painting at William Merritt Chase’s art school in Shinnecock Hills, Long Island. There he found a community of mentors and fellow students who encouraged him to pursue his interest in art. At the end of Kent’s third summer at Shinnecock, Chase offered him a full scholarship to the New York School of Art, where he was a teacher. Kent began taking night classes at the art school in addition to his architecture studies but soon left Columbia to study painting full-time. In addition to Chase, Kent took classes with Robert Henri and Kenneth Hayes Miller, where his classmates included the artists George Bellows and Edward Hopper. Kent spent the summer of 1903 assisting the eccentric painter Abbott Handerson Thayer at his studio in Dublin, New Hampshire—a position he secured through the recommendation of his Aunt Jo. Thayer’s naturalist lifestyle and almost mystical appreciation for natural phenomena greatly influenced Kent; he returned to Dublin for many years to visit Thayer and his family. Thayer gave the young artist time to pursue his work, and that summer Kent painted several views of the New Hampshire landscape, including Mount Monadnock...

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...

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...

An Eagle Ceremony at Tesuque Pueblo Woodcut printed in two colors, 1932 Unsigned as usual; initialed in the plate lower left (see photo) As published by Elmer Adler in "The Colophon:...

Evacuazione di Praga venduta ai Turchi dagli Inglesi is an artwork realized  from 1856 to 1862. Black and white woodcut. Published on the book "Usi e costumi di tutti i popoli dell...

Paul Landacre, 'Verdi', wood engraving, 1936, edition 60, (only 14 printed), Wien 188. Signed, titled, and numbered '10/60' in pencil. A fine impression, on cream, laid Japan paper, ...

Naoko Matsubara, 'Winter Serenity' for the portfolio 'Solitude', woodcut, 1971, edition 100. Signed and numbered '58/100' in pencil. A fine, richly-inked impression, on cream laid J...

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

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. ...

This large, horizontal diptych of two woodcut prints on paper evokes the peacefulness of ocean waves depicted in shades of blue, bright royal blue offset by soft, pale blue tones. Th...

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

"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...

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

Shunji Sakuyama, Japanese (1940 - ) - Cutting Board, Year: 1975, Medium: Woodcut on Arches, signed, numbered and dated in pencil, Edition: 47/50, Image Size: 13 x 17 inches, Size...

Howard Cook (1901-1980), Chrysler Building (Chrysler Building in Construction) – –1930, Wood Engraving. Duffy 122. Edition 75, only 50 printed. 19...

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...

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...

This woodcut print on paper evokes the peacefulness of looking across a stream towards a thicket of trees in a forest in shades of light grass green, yellow, sky blue and dark violet...

"Men Who Are Men" is a pseudo-documentary written and directed by Jeff Balsmeyer and Kirby Dick. The film was showcased at the Bleecker Street Cinema, a renowned venue in New York Ci...

Woodcut on vélin supérieur paper. Unsigned and unnumbered, as issued. Good condition. Published by Maeght, éditeur, Paris; printed by Mourlot Frères, Paris, January 17, 1947. Notes: ...

Signed in bottom right corner. Also signed and on the reverse, This is unique color woodcut monoprint numbered 1/1. An abstracted view into foliage at night.. In January 2018, the ...

Frans Masereel - Exposition is an artwork realized in 1967. Woodcut. Signed on plate. Good condition.

MAN is a hand pulled, original limited edition relief print created using woodcut and serigraphy(silkscreen) printmaking techniques on white archival heavyweight paper, 100% acid free. Pencil signed, titled and dated in pencil on lower margin by Elizabeth Catlett, embossed with printers chop mark lower left, print documentation provided. MAN is an impactful portrait head woodcut depicting an indigenous Mexican male face carved by the renowned American and Mexican woman printmaker and sculptor, Elizabeth Catlett. Strong impression printed in rich black ink on white paper with a row of paper doll like cutout people silkscreened printed in gradient shades of yellow, orange, and brown beneath the Man's head, reminiscent of Mexican folk art paper-cutting, Artist: Catlett, Elizabeth (1915-2012) Title: Man Date: 1975, printed 2003 Medium: woodcut and color silkscreen Dimensions: 26 x 17.75 inches (paper size) Edition: 250 published by the Print Club of Cleveland, number 83, 2005 Mint condition, never been framed or mounted, hand signed, titled, dated by Elizabeth Catlett - Printers Proof aside from the numbered edition of 250 printed in 2003, print documentation/COA provided, from the master printers private collection About the artist - Elizabeth Catlett graduated from Howard University in Washington, D.C., in 1935, where she studied under a number of notable artists, including Lois Maillou Jones...

A very good impression of this color woodcut and lithograph diptych. Signed and dated in pencil by Dine. From a limited edition of 12.

The Japanese tea ritual is a breathtaking ukiyo-e, a original woodblock print on paper, realized at the half of trhe 19th century by the great master, Utagawa Toyokuni II...

The high-ranking courtesan Shiragiku Bijinga is an original modern artwork realized by Keisai Eisen in the 1821-23. Woodcut Print Oban Format. From the ...

This artwork titled "Amos" 1960 is an original woodcut on paper by noted American artist Leonard Baskin, 1922-2000. It is hand signed, titled and numbered 35/50in pencil by the artis...

Oriental Warrior is an original print realized in the first half of the XIX century by Utagawa Kunisada. Beautiful colored woodblock print. This wonderful woodcut by Utagawa Kunisa...

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...

In Ro Barragan's latest work we explore a production of typographic posters that seeks to highlight the multiplicity of meanings in everyday messages. Words meet, bifurcate, overlap, amalgamate and juxtapose in speeches and the context of communications. It is in this complex multiplicity, that manifests itself in a printed text, which also functions as an image. The material used is the same as the one historically used in urban advertising posters: the work is developed by using typographic printing methods, with mobile types of wood, in typographic families dating back to the last century. The works of art are printed on sulfite paper of various sizes. This piece comes displayed on a black contemporary frame under glass. Art measures 38.25 x 26.25 in Frame measures 43.5 x 31.5 in The machines of the early 20th century and manual presses of various sizes are used for printing, which still works in historical workshops in Argentina – Pucará printing shop in La Tablada - and in the Ilusión Gráfica workshop, owned by Ro Barragán, where it is sought to continue the tradition and the typographic trade, linking its production with artistic practices. Ro holds a Master in Aesthetics and Art Theory by the National University of La Plata, all while developing artistic activities since 1994. She has participated in collective and individual exhibitions in Painting, Engraving, Objects, Digital Art, Installations and Interactive Art, in Buenos Aires and other cities of Argentina, Bogotá, Rome, and Miami. She also has developed art activities in the context of the street, through stickers and posters. She is a Teacher of the Engraving and Complementary Printed Art Workshop at the Faculty of Fine Arts of the National University of La Plata and a teacher of the typography workshop at the Museo de Calcos y Escultura comparada Ernesto de la Cárcova, city of Buenos Aires. She is the creator of Ilusión Gráfica, a typographic printing company that seeks to preserve the tradition of printing with wooden mobile...

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.

Bernard Brussel-Smith, 'City Scene II', wood engraving, 1949, artist's proof, edition 100. Signed, titled, and annotated 'A.P.' in pencil. A superb, richly-inked impression, on whit...

Signed on the front, and signed, titled and numbered on the reverse, This is an artist proof, unique color variant, aside from the edition of 15. An abstraction of male nudes. In J...

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...

Woodcut on Fabriano Rosipina Avorio 285gsm paper Edition 1 of 50 Signed, numbered and blindstamped by the publisher on the front 46 x 41.5 x 3.5 cm - Framed by Pauli Excellent, incon...

Artist: Peter Green Title :Astral Form Year:1969 Edition: Signed, Dated and marked 19/30 Paper Size = 26½" x 38½" inches Type: Woodcut Born in 1933, Peter Green studied at Brighto...

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...

Will barnet, 'Child Reaching', woodcut, 1940, edition 25, Cole 82. Signed and titled in pencil. A fine, black impression, on fibrous Japan paper, with full margins (5/8 to 1 3/4 inch...

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-...

Actor in onnagata role accompanied by a kamuro is an original artwork realized in the 1850s by Utagawa Kuniyoshi (January 1, 1798– April 14, 1861). Woodcut Print. Sign.: Ichiyusai ...