Art by Medium: Woodcut

Mokuchu URUSHIBARA Horse Turning Around, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 37 x 27 cm (c. 14,5 x 10,6 in) INFORMATION : Engraving publ...

Richard Bosman, American (1944 - ) - Car Crash II, Year: 1982, Medium: Woodcut on Japon, signed, numbered and dated in pencil, Edition: 60, Image Size: 35 x 48 inches, Size: 36....

SHIKO MUNAKATA (1903 – 1975) UNTITLED FACES ca 1960. -- Color woodcut on thin Japan paper. Signed in pencil. with Chops, printed image 15 x 12 ¾”, Sheet 19 7/8 x 15 7/8” $1,...

Karl Michel, 'Venus, Ex Libris - Hanns U. Herta Heeren', woodcut, 1923, edition not stated but small. Signed, dated, and numbered 'op.154' in pencil. Signed in the block, lower left. A fine impression, on cream Japan paper, with full margins (15/16 to 2 11/16 inches), in good condition. Printed by the artist. Matted to museum standards (unframed). . Translation: Venus Ex Libris for Hanns and Herta Heeren. Image size 5 15/16 x 4 inches (156 x 102 mm); sheet size 9 5/8 x 6 inches (245 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

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...

Max Weber, Untitled 'Feast of Passover', woodcut, 1920, edition proofs—this impression from the edition of 25 printed in 1956, Rubenstein 30. Signed in pencil...

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

This piece titled "Follow Me" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 9.5"h x 14.5"w. Born in Mexico City, ...

This woodcut by Ali Kurt Baumgarten (1914–2009) depicts a still life with a coffee cup and wine bottle, rendered in bold, simplified forms that emphasize balance and graphic clarity....

Title: Zion Subject: Various biblical images depicting Creation and prayer 1922 Medium: woodcut Frame: 14" x 18" Image: 12.5" x 16.75" Provenance: owned and signed verso by Peter Keil. Central panel shows the Jewish star over a crown, with inscription in Hebrew: "When God comforts Zion, He will comfort all its ruins and make its deserts look like Eden," and "You have sanctified the seventh day, the goal of creation of Heaven and Earth." This is flanked by a Palestinian farmer pioneer on the left and a Jew praying on the right. The lower tier shows six vignettes of the days of creation from Genesis. Hermann Fechenbach was born in 1897 in Württemberg, Germany. He grew up in Bad Mergentheim where his parents had an inn, which served as a meeting place for the local Jewish community. He left school early and through family connections with clothing retailers received training in window dressing. His skill with brush writing was quickly recognised by a big firm in Dortmund where he was responsible for the displays in 10 large windows. He received his conscription papers in 1916 and recalls “being as patriotic as any other fool”. In August 1917 he was involved in a grenade attack in which he was the sole survivor. With serious injuries to both legs he struggled to safety and was eventually transported to a front line “slaughterhouse” where the first of a series of amputations was performed which led to the loss of his left leg. As a result of his injuries his father dropped his opposition to him becoming an artist. His formal art education started in 1918 with training at a Stuttgart handcraft school for invalids. He attended the Academies in Stuttgart and Munich to learn painting and restoration for 3 years. He was influenced at this time by Max Liebermann. He has been compared to Kathe Kollwitz and was a contemporary of Jakob Steinhardt and hermann Struck. In 1923 he went to Florence for a year. While in Florence he started to produce a series of miniature wood engravings to illustrate the stories of Genesis. This was followed by periods in Pisa, Venice, Vienna and Amsterdam. In 1924 he returned to Stuttgart to paint in the contemporary style “Die Neue Sachlichkeit”. (The New Objectivity was a movement in German art that arose during the 1920s Weimar republic as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. These artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter and Jeanne Mammen) Every spring and autumn he exhibited at the “Kunstgebit” which served as the showcase for all serious artists of the period. His professional status “Kunstmaler und Grafiker” was recognised by Berlin in 1926. Practically all his work from this period was sold following exhibition. In 1926 he collaborated with an architect friend to build a bungalow in Hohenheim, a non-Jewish area and a suburb of Stuttgart. Hermann alternately lived in his country bungalow and his town studio, producing portraits for sale or barter and wood engravings for his own pleasure. In 1930 he married a non-Jewish professional photographer – Greta Batze. They had a studio in Stuttgart, which was used to teach art to a group of 12 students. In 1933 the Nazi influence removed his name from the official state register together with the right to exhibit. By spending most of his time in his bungalow out of the Jewish quarter the Fechenbachs escaped being registered by the Nazis for some years. They were ostracised and abused by their non-Jewish neighbours. Hermann made weekly visits to friends in town to teach them the practical skills they would need assuming they were to escape from Germany. His energies were directed towards protection and survival. Ultimately the Nazi persecution forced the Fechenbachs to flee their homeland. They moved to Palestine for 3 months in 1938, but found the political and physical environment unsustainable. Greta arrived in England penniless in January 1939 to work as a domestic servant and to find a guarantor for her husband. Hermann arrived in May 1939. They moved to Blackheath a few months later. Hermann resumed his painting and engraving as a means of earning a living. He raised enough money to get his parents out of Germany to join his brothers in Argentina but was unable to save his twin sister Rosa who died in a Nazi concentration camp. In 1940 Hermann was interned in Bury as a suspect alien. He protested about his treatment by starting a hunger strike. Because of his persistence he was moved to a prison in Liverpool. From Liverpool he was moved to the Hutchinson Camp in the Isle of Man with fellow artist Kurt Schwitters. Arrangements were made for Greta to be accommodated near by. While interned he commenced work on “Refugee Impressions”, a series of linocut prints (no wood was available). In 1941 when released from internment the Fechenbachs came under the sponsorship of Dr. Bela Horovitz, the Austrian art publisher who in turn made an introduction to Professor Tancred Borenius. They were offered lodgings with a family in Oxford. Hermann had his first public exhibition for many years in a small gallery in Oxford in 1942. A second exhibition of oils, pencil drawings, coloured linocut and woodblock prints held later in the year was opened by the mayor of Oxford and critically acclaimed. In 1944 the first London exhibition took place at the Anglo-Palestinian club in Piccadilly. There were two exhibitions at the Ben Uri Art gallery during this period. In 1948 a second exhibition at the Anglo Palestinian club was inaugurated by a member of the Rothschild family and several members of Parliament. This was a great success. In 1944 the Fechenbachs moved to a top floor studio flat in Colet Gardens. Open exhibitions were held each Spring at the Embankment from 1946 to 1951. Movietone News produced a short feature on the artist, which was shown in cinemas in England and Germany. In 1969 he published the Genesis story in a hard back volume containing 137 prints. He started to research the fate of the entire Jewish community of Bad Mergentheim during the period of the second world war, liaising with historian Dr. Paul Sauer and Professor Max Miller, historian and theologian. In 1972 Kohlhammer published his partly autobiographical book “The last Jews of Mergentheim”. He exhibited at the Anglo-Palestinian Club & the Ben Uri Gallery in the 1940s. His works only came to prominence during the last year of his life when he exhibited at Blond Fine Art. Peter Keil part of the Junge Wilde. In 1978, the Junge Wilde painting style arose in the German-speaking world in opposition to established avant garde, minimal art and conceptual art. It was linked to the similar Transavanguardia movement in Italy, USA (neo-expressionism) and France (Figuration Libre). They were also known as the Neue Wilde. Artists included; Austria: Siegfried Anzinger, Erwin Bohatsch, Herbert Brandl, Gunter Damisch, Hubert Scheibl, Hubert Schmalix...

Cosmos Color woodcut with gauffage (embossing), January 1940 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1940) Condition: excellent Image size: 14 3/8 x 9 5/8 inches Provenance: Robert O. Muller Estate Biography Hodo Nishimura...

Hell Plate - 29 is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, ...

This woodcut by Ali Kurt Baumgarten (1914–2009) presents a stylised woodland landscape, where bold, simplified forms of trees, foliage, and terrain create a rhythmic, almost storyboo...

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

Medium: original color woodcut. Catalogue reference JH 771. Published in 1919 for Genius. Image size: 9 1/2 x 7 inches (240 x 178mm), on wove paper with full margins. This print is f...

Schanker, Louis (American, 1903-1981). GREEN & BLACK. Color Woodcut, 1941 Brooklyn Museum Booklet 53. Edition of 55 plus 20 trial Proofs. Signed, titled, and numbered 10/55 and inscr...

Foreign Soldiers from Five Countries at the Port of Yokohama Color woodcut triptych, c. 1860's Signed in the block lower left corner Signed: "Ichimosai Yoshitora ga" Condition: Mounted to a rose colored silk backing (stable) Staining (visible) in the joining of the right and center sheets Colors very slightly faded Image size: 15 3/8 x 31 3/8 inches (triptysch sheets joined to make one print) The 1854 Treaty of Kanagawa opened Japan to the West. Curiosity about the never-before-seen foreigners spurred a market in Yokohama-e (Yokohama prints), named for the area to which foreign dignitaries and merchants were confined. Yoshitora became one of the best known and most active artists of the Yokohama-e school. Utagawa Yoshitora (歌川 芳虎) was a designer of ukiyo-e Japanese woodblock prints and an illustrator of books and newspapers who was active from about 1850 to about 1880. He was born in Edo (modern Tokyo), but neither his date of birth nor date of death is known. However, he was the oldest pupil of Utagawa Kuniyoshi who excelled in prints of warriors, kabuki actors, beautiful women, and foreigners (Yokohama-e). He may not have seen any of the foreign scenes he depicted. Yoshitora was prolific: he produced over 60 print series and illustrated over 100 books. In 1849 he produced an irreverent print called Dōke musha: Miyo no wakamochi ("Funny Warriors—Our Ruler's New Year's Rice Cakes"), which depicts Oda Nobunaga, Akechi Mitsuhide, and Toyotomi Hideyoshi...

This original woodcut in colours with embossing is hand signed in pencil "R. Lichtenstein" at the lower right margin. It is dated ‘80’ [1980] next to the signature. It is also number...

This piece titled "Half and Half" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 7.25"h...

An exceptionally fine wood engraving by the British artist Reynolds Stone (1909-1979) depicting the River Ebble. Signed with initials. Numbered 45/100. Smartly presented in a black f...

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

Shoko Uemura, 'Inside the Flowers (Java Sparrow and Peach Blossoms)', color woodcut, c. 1950s, edition 300. Signed in ink with the artist’s red seal beneath. A superb impression, with fresh, delicate colors, on cream wove Japan paper; the full sheet with margins (9/16 to 1 3/8 inches), in excellent condition. Archivally sleeved, unmatted. Image size 12 3/4 x 18 1/2 inches (324 x 470 mm); sheet size 14 3/4 x 20 3/16 inches (375 x 513 mm). Published by The Momose Print Company of Tokyo. ABOUT THE ARTIST Uemura Shoko (1902-2001) was the son of the famous shin-hanga artist Uemura Shoen...

The Courtesan Kashiwagi and the Kamuro Wakano - Japanese Woodblock Print Original Toyokuni III/Kunisada (Japanese, 1786 - 1864) Japanese Woodblock Print "The Courtesan Kashiwagi and...

Stephen White - The Bead Seller, Year: 1978, Medium: Woodblock on Japon, signed, dated, titled and numbered in pencil, Edition: 6/150, Size: 26.75 x 24.5 in. (67.95 x 62.23 cm)

Lyonel Feininger, 'Da-Da I' also titled by the artist 'Der Abgott' (The Idol), woodcut, 1918, a proof impression. Prasse W91. Signed in pencil and annotated '1876', the artist’s inv...

Color woodcut/lithograph with chine collé, Edition 30. Betty Woodman’s lithograph/woodcut/chine collé, “Greek Pots Visit Edo”, places images of her pots...

Sharon Merkur, Canadian (1932 - 2002) - Escarpment IV, Year: circa 1980, Medium: Woodcut on thin wove paper, signed, numbered and titled in pencil, Edition: 6/8 A, Image Size: 22...

Edward Gordon Craig (British, 1872 – 1966) Army of Fortinbras Woodcut Signed with monogram (lower right) 4.3/4 x 8.1/4 in. (12 x 20.8cm.) A beauti...

Leonard Tsuguharu FOUJITA Cat, 1927 Original woodcut Handsigned with ink Numbered /160 Bears the blind stamp of the editor (Lugt 1140a) On Vellum 32.5 x 25.5 cm (c. 13 x 10 inch) R...

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

The vertical Spots 'Gly-Gly-Ala' by Damien Hirst is a multi-color woodcut in his signature palette formed with series unique colors. This exquisite piece is created in a limited edit...

Sergio Hernández (Mexico, 1957) 'Viaje al fondo del mar', 2011 woodcut on paper Velin Arches 400 g. 46.5 x 82.7 in. (118 x 210 cm.) Edition of 10 Unframed

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

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

Medium: original woodcut. Printed in Paris in 1927 on Arches paper, and issued in a limited edition of 750 for the artist's own "Histoires & Poemes de mon epoque". Image size: 5 1/4 ...

Antique bird egg colour woodblock , 1880, from Francis Orpen Morris’, 'A Natural History of the Nests & Eggs of British Birds', 1875. The woodblocks ...

Artist: Jack Beal, American (1931 - 2013)
Title: Cornucopia
Year: 1977
Medium: Woodcut on Arches, signed, titled and numbered in pencil
Edition: 19/20
Image ...

"Thirsty: the appearance of a town geisha in the Ansei era" - Woodblock on Paper From the series "Thirty-two Aspects of Customs and Manners" (Fuzoku sanjuniso) Lively woodblock of a...

Large scale limited edition woodcut print of an an abstracted scene with landscape elements and rough figural forms including a dog, house and tree that emerge from chaotic linear ab...

Brunetto Latini from the Series "The Divine Comedy" - Song 16 - Hell is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante...

This print is from a highly regarded series by the Edo woodblock artist Utagawa Kuniyoshi: in the period, there were at times prohibitions in depicting a...

The Virgin and the Child is an original Woodcut on cream-colored paper. realized after Albrecht Durer, a reproduction of the early 20th Century from the...

Charlie Hewitt, American (1946 - ) - Buoy, Year: 1990, Medium: Woodcut, signed, titled, numbered and dated in pencil, Edition: 7/20, Image Size: 11 x 9 inches, Size: 13 x 9.75 i...

The Greatest Beauty of Beatrice - The Divine Comedy is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not s...

Antique bird egg colour woodblock , 1880, from Francis Orpen Morris’, 'A Natural History of the Nests & Eggs of British Birds', 1875. The woodblocks ...

"Midnight Wolf" is a framed signed limited edition abstract inuit native people's work by Northwest Coast Haida artist Clarence Mills. The print depicts a st...

Woodcut on vélin cuve de Rives paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the folio, Feuilles éparses, 1965. Published and printed by Louis B...

This is a silkscreen and woodcut print created in 2007. It is signed and numbered in graphite from the edition of 118 (plus 18 APs). This print comes directly from the publisher, Lin...

The Story of Tamiya Bataro Color woodcut diptych, March 22, 1886 Signed and sealed by the artist (see photo) Yoshitoshi signature, Taiso seal Series: New selection of eastern brocad...

Salvador Dali (1904-1989) - The Inferno, Canto 6 - Cerberus Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les Heures C...

Emile Antoine Verpilleux, 1888-1964 York, 1920 Original woodcut, printed in colors 14 x 18 inches Signed in pencil

Wonderful mid century modern wood cut of wild Penguins by Israeli artist Hannah Yakin Hiyze (Dutch/Israeli, b. 1933), 1967. 13/33. Signed, number, dated and titled lower left edge. Condition: some waviness to paper. Presented under glass with vintage painted wood frame. Image size: 14"H x 37"W. Born Hannah van Hulst in Amsterdam, during World War II, Hannah developed her artistic talents, experiencing "happy times in which necessity bore creativity." After the war she went to high school and studied art at Academia Artibus, Utrecht, the Netherlands and in Paris with famous poster designer and graphic artist Paul Colin. In 1956 she emigrated to Israel where she met and married the artist Abraham Yakin...

This is a unique woodcut print of a waterfall in a forest in light mint blue against a dark cobalt background. The monotype brings to mind the tradition of Japanese printing...

Hans Neumann (German, 1873 - 1957) Schwäne (Swans), 1913 Woodblock Sight: 17 x 11 in. Framed: 25 3/4 x 19 in. Signed & inscribed bottom, artist monogram lower left This outstanding ...

Canna Lily Color woodcut, 1939 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1939) Format: oban Condition: Excellent Image/Sheet size: 15 5/8 x 11 inches Provenance: Robert O. Muller There is little biographical data available about the Japanese printmaker Hodo Nishimura...

Composition is an Original Woodcut realized by Madeleine Flaschner (1933-....). The artwork is an experience greatly enhanced by the artist. Mono...

FRANCES H. GEARHART (1869-1958) STORM LINED c.1936 Color block print, signed and titled in pencil 13 ¼ x 10 1/8, full sheet 14 3/8 x 11 ¼” with deckle edge on her typical fibrous Ja...

Woodblock print, nishiki-e, hashira-e (pillar print), Edo Period (late 18th Century. Signed Shuncho ga (???). A finely composed vertical print depicting an elegant young woman walk...

Lynd Ward, 'Wild Pilgrimage', No. 26, wood engraving, 1932, edition not stated but very small. Signed in pencil. A fine, black impression, with full margins (1 1/16 to 3 3/16 inches), on tissue-thin cream Japan paper, in very good condition. A scarce, artist-printed, hand-signed proof impression before the published edition. Matted to museum standards, unframed. Created by Lynd Ward for his narrative book of illustrations without words, 'Wild Pilgrimage', published by Harrison Smith...

Woodcut on vélin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Vingt fables de La fontaine, 1961. Published by Éd...