Art by Medium: Woodcut

Bold and colorful portrait by renowned artist T.C. Cannon of a Native American woman in a stripped shawl titled "Hopi Maiden." Signed along bottom edge. Edition 44/200. Dimensions...

Surimono is a beautiful color woodcut with white and silver gold embossing, made between 1820 and 1846 by the Japanese artist Yashima Gakutei. A young woman is squatting on the floor, holding a musical instrument, the favorite subject of the Japanese master. With a layer of dust, a small hole in the upper margin to the right and some fading, the original print is still in good condition and retains its incredible charm. Really the surimonos are a genre of Japanese woodblock prints, privately commissioned for special occasions. Being produced in a small edition for a mostly educated audience, surimono were often more experimental in subject matter and treatment, and extravagant in printing technique, than commercial prints. Good conditions except a minor fading on top and some brushing of paper. Yashima Gakutei (c. Osaka, 1786 - 1868) The Japanese artist and poet was a pupil of both Totoya Hokkei...

Skadi Engeln, a Berlin- and France-based artist, studied sculpture at FH Ottersberg with Robert van de Laar and painting with Michael Kohr and Hermanus Westendorp. Her work has been ...

This artwork titled "Starburst" 2007,is an original colors woodcut on thin rice paper paper by noted American artist Ruth Leaf, 1923-2015. It is hand signed, titled, dated and inscri...

Lyonel Feininger, 'Church with House and Tree (Kirche mit Haus und Baum)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W290 IV. Annotated 'PW 290 state IV / IV 3669', in pencil, in the bottom right sheet corner. With the artist's typed address and date adjacent to the letterhead image: 'Falls Village, Connecticut September 26th, 1940'. A fine impression, on buff, wove letterhead stock; several small losses, and tears, in the sheet edges (not affecting the image area); a crease in the bottom right sheet edge, otherwise in good condition. Very scarce. Image size: 2 3/8 x 2 3/4 inches; sheet size 11 x 8 5/8 inches. Archivally sleeved, unmatted. Feininger moved from Germany to New York City in 1938 and began spending his summers in Falls Village in 1940. Exhibited: 'Lyonel Feininer, Woodcuts Used As Letterheads'; Associated American Artists; Feb 4 - March 2, 1974; New York, NY. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

A German Expressionist woodcut, with original hand-coloring in watercolor, depicting a parent and child watching a theatrical production; ...

The Ayase River and Kanegafuchi, Summer, One Hundred Famous Views of Edo Summer on the Ayase River by Hiroshige (Ando) Utagawa (Japan, 1797 - 1858 ). Woodcut circa 1856. Ima...

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...

Figure is an Original Woodcut Print realized by Charles Sterns in the mid-20th Century. The little artwork is in good condition on a cream colored cardboard. No signature.

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...

Delicate makeup in fashion is an original modern artwork realized by Utagawa Kunisada in 1830s. Woodcut Print Oban Dyptich Format. From the series "Jisei usugesho" (Delicate makeup in fashion). An actor prepares him self for a rolle as Onnagata in a Shosagoto play, with the ghost characters of the sister Matsukaze and Murasame. He sits in front of a makeup table and applies makeup to his eyebrows, behind him on a black lacquer shelf...

Kabuki Actor in Blue Kimono - Original Woodblock Print Original woodblock print depicting a Kabuki actor in a blue kimono by Suzuki Harunobu (Japanese, 1725-1770). The actor holds u...

Medium: original woodcut. Printed in 1950 for the art revue Derriere le Miroir (issue number 33) and published in Paris by Maeght. Size: 15 x 21 3/4 inches (377 x 553 mm). There is a...

Dangerous: The Appearance of a Contemporary Geisha of the Meiji Era Color woodcut, 1888 Plate 28 from the series "Thirty-two Aspects of Customs and Manners" (Fuzoku Sanjuniso) Format...

Mokuchu URUSHIBARA The Cat, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 27 x 39 cm (c. 10,6 x 15,3 in) INFORMATION : Engraving published by Moku...

Woodcut in colours on Somerset White paper Edition of 48 Signed on the front Artwork in mint condition. Artwork not inspected outside of frame. Minor scratches throughout frame Float...

Woodcut of female figure and skeleton by English artist Paul Koch, 1964. Signed lower right. 23/200 Original artwork on paper displayed on a white mat with a gold border. Mat fits ...

Ohara Koson, 'Pair of Mallard Ducks', color woodblock, c. 1920s. Signed 'Koson' in black ink with the artist’s red seal beneath, lower right. A superb, skillfully-inked impression, w...

Life is an Artwork realized by Mino Maccari  (1924-1989) in the Mid-20th Century. Colored woodcut on paper. hand signed and numbered in pencil. Edition of 89. Very Good conditions...

Werner Drewes Untitled Mid Century Modern Abstract Woodcut, 1974 Woodcut fold-out card on Rives BFK paper with deckled edges 9 1/5 × 6 1/4 inches Unframed Rarely seen, this twice sig...

Chiaroscuro woodcut on cream laid paper with a partial anchor in a circle watermark, printed from two blocks in black and olive-green, 10 3/4 x 8 3...

The Crow is a woodcut print realized by Duilio Cambellotti in 1930s. The artwork has an incisive graphic rendering, typical of woodcut practice, characterized by sharp lines and str...

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

Hard Margins - Hell Plate 19, is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Not signed, as issued. G...

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

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

Max Weber, 'Seated Figure", woodcut, edition not stated, 1919-20, Rubenstein 17. Signed in pencil. A fine impression on cream Japan paper; the full sheet with margins (2 to 3 1/8 in...

Hands of Antaeus - Hell is a woodcut print realized in 1963 for a series illustrating the Medieval poem of the "Divine Comedy" by Dante Alighieri. Good conditions. Limited edition...

Le Chat is a beautiful original print on wove paper, realized by the French artist Giselle Halff in the mid 20th century. A sensual black cat (one of the best French symbols) lying...

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

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...

Persian Ballet is a woodcut on ivory-colored, realized at the beginning of the XX century by the Italian artist Arturo Martini (Treviso, 1889 - Milan, 1947). On the lower margin, the printed inscriptions with the title and the author: "Persian Ballet/ Martini de la Valle...

Charles Quest, 'Underwater', 1948, chiaroscuro wood engraving, edition 12. Signed, titled, dated and numbered '3/12' in pencil. A fine, richly-inked impression, in dark brown and warm black, on off-white wove paper, with full margins (5/8 to 1 1/2 inch), in excellent condition. Scarce. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

Scribe and Personal Assistant to the Shogun - Japanese Woodblock Print on Paper Detailed woodblock print by an unknown artist, In the style of Suzuki Harunobu. There are two women i...

The Garden of Love (after Peter Paul Rubens [1577-1640]) Woodcut diptych, c. 1633-1636 Each of the two sheets is signed in the plate lower right A posthumous impression with tiny wor...

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

SADAO WATANABE (Japanese 1913-1996) JONAH, 1959 Color stencil, signed, numbered and dated in white ink. Sheet, 25 5/8 x 22 5/8 inches. Edition: 44/50. Good color and generally good ...

Michael Rothenstein British, 1908-1993 The Garden II, 1990 woodcut 72 x 86 cm 28 3/8 x 33 7/8 in signed and dated in pencil Michael Rothenstein was born in 1908 in London, the young...

Medium: original woodcut. Printed in Germany in 1917 for Die Aktion; this impression is from the deluxe edition of 100 on Bütten laid paper. Catalogue reference: Schapire 202. Image ...

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...

The Traitor of Montaperti from the Series "The Divine Comedy" by Dante Alighieri is an original woodcut print by Salvador Dalì, realized in 1963. Good conditions. Not signed. Plate...

Shunga is an original modern artwork realized by Katsukawa Schuncho (1726 – 1793) in the half of the 18th Century. Erotic scene from the series "Koshuko zue juni ko". A courtesan with a customer under a kimono stand...

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, ...

Numidian Crane is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917). Woodcut print on ivory-colored paper. Hand-colored, published by Lond...

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...

Medium: original woodcut. Executed for the second volume (1956-57) of the very rare Documenti d'Arte d'Oggi, published in Milan by Groupe Espace. Size: 12 1/2 x 8 1/2 inches (318 x 2...

oel Shapiro Woodcut (butternet and cherry) on Crown & Sceptre laid paper, 1987 Pencil signed and numbered 18 of 29 on the front Published by PACE Editions, NY (with original label ve...

Gael Stack Untitled, from the Art Against AIDS Portfolio, 1988 Woodcut on paper with deckled edges. Hand signed. Numbered. Printer's and Publisher's Blindstamp. Unframed. Hand signed and numbered on the lower recto (front) with printer's and publisher's blindstamp. Edition 38/50 20 × 15 inches Publisher Little Egypt Enterprises, Houston, TX Provenance Art Against AIDS Portfolio, numbered 38/50 This beautiful limited edition woodcut by Gael Stack was published in 1988 as part of the Art Against Aids portfolio, numbered 38/50. Superb provenance as it is was acquired from the original Art Against AIDS Portfolio published in Houston, Texas. This will be the first time the work will be removed from the portfolio. The late 1980s was the height of the AIDS epidemic, and this was one of many efforts by the creative community to raise funds to assist in fighting this deadly scourge that disproportionately affected the artistic community. Measurements: 20 x 15 inches (sheet) 8 1/4 x 12 inches(image) The complete Art Against AIDS Portfolio is comprised of 10 prints, in black and white and color, from 10 artists. About Gael Stack: Gael Stack is a Texas painter. She lives in Houston and has work in the permanent collections of several museums. Stack has worked as a professor at the University of Houston...

Associated with the Minimalist art movement of the 1960s, Mangold developed a reductive vocabulary based on geometric forms, monochromatic color, and an emphasis on the flatness of t...

Hand Signed edition of 50 with blindstamp. Surprising Novel Woodblock and heliorelief with handpainting 18-1/2 x 16-1/4 inches (sheet alone without frame) Biography: Sandro Chia was...

Roy Lichtenstein Imperfect 67 5/8 in x 91 1/2 in, 1988 represents one of Lichtenstein’s serious venture into total abstraction within the genre of Pop art. Lichtenstein carefully sub...

Jean-Emile LABOUREUR The Convalescent On The Road, 1929 Original wood engraving Printed signature in the plate Limited editions of 400 copies On vellum Arches 21 x 24 cm (c. 8 x 9 i...

Utagawa Kuniyoshi No. 65 Kawachi sekkai 河内右灰 (Limestone from Kawach), 1852 From Series: Sankai medetai zue 山海目出度図絵 (Celebrated Treasures of Mountains and Seas) Woodblock print Oban...

Courtesan Kumekichi Color woodblock, 1858 Kabuki Actor Iwai Kumesaburo III in the role of courtesan Kumekichi, who is standing in snow hold a red sake cup Publisher: Ohkuniya Kinjiro...

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

This artwork titled "Heron Moon" c.1990, is a color woodblock print on paper by noted Canadian/Japanese artist Suezan Aikins, b.1952. It is signed, titled and numbered 58/150 in pencil by the artist. The artwork (image) size is 8.5 x 21 inches, framed size is 15.75 x 28.25 inches. Custom framed in a silver metal frame, with double off white matting. It is in excellent condition, the frame have some small minor rubs, barely visible. About the artwork: This artwork required have 5 different carved wood blocks and 9 layers of colors to complete. About the artist: Born in Montreal in 1952, Suezan was influenced early in her life by the works of modern Japanese woodblock printmakers which hung throughout her parents’ home. She attended the Fine Arts programme at Mount Allison University in Sackville, New Brunswick (1969 - 1971), The Ontario College of Art (1971-73), L’ ecole du Musee des Beaux Arts (1974), Nova Scotia College of Art and Design -BFA (1975) as well as a very intensive year of study with Toshi Yoshida in Tokyo (1984-85). She has exhibited extensively in both public and private galleries throughout North America and Japan. Recent exhibitions include solo shows in Tokyo, Osaka, Okinawa, and Boston with group exhibitions at the Wenniger Gallery, Boston, Royal Canadian Academy in Toronto and the Canadian Museum of Nature in Ottawa. Her paintings and woodblock prints are found in many collections such as The Canada Council Art Bank, The Nickle Art Museum, The Art Gallery of Nova Scotia, The Royal Bank of Canada, Prince Takamanonamiya Norihito, the Embassy of Canada in Tokyo, The Thomas Moore Institute as well as private collections. Suezan Aikins was awarded the Elizabeth Greenshields Foundation grant in 1983, Nova Scotia Department of Culture - Development Grants in 1980, 1987 and 1988. She was elected to the Royal Canadian Academy of Art in 1990 and received the Canadian Progress Club- Women of Excellence Award for Culture in 1993. Her work has been featured in a number of television documentaries as well as many Canadian magazines. STUDIES: Yoshida Woodblock Print Studio Tokyo, 84-85 Nova Scotia College of Art & Design, Halifax, 74-75 BFA Ecole du Musee des Beaux Arts, Montreal, 74 Ontario College of Art, Toronto, 71-73 Mt. Allison University, 69-72 SELECTED SOLO SHOWS: 25 Year Retrospective of Woodblock Prints traveled to three Public Galleries in Germany: Dornum Castle; Tollhousverein, Leer; Rastede Palace, Oldenberg 2000-2001 color catalog and reviews. Private Exhibitions, Falmouth, Mass., July 1996; Montreal, November 1996; Gibson Island, Md., April 1999. Gold Paintings and Woodblock Retrospective, travelling: Kabutoya Gallery, Tokyo; Genkan Gallery, Tokyo American Club; Blue Nile Gallery, Osaka; Kanda's Gallery BOQ, Okinawa; May 1994 (color catalogue) Edo Gallery, Boston, November 1992, Private Exhibitions, Chatham, Mass, July 1992, Toronto, Oct. 1991 New Paintings and Woodblocks Kabutoya Gallery, Tokyo, May 1991, and also in 1987. Japanese Garden and Pavilion Foundation, Montreal, September 1990, Ownens Art Gallery, Mount Allison University 1988 Zwickers Gallery, Halifax, NS, 1979; Gallery 78; Fredericton, November, 1983; Robertson Galleries, Ottawa, November, 1982 SELECTED GROUP SHOWS: "A New Leaf" 30 foot instalation of mixed media/ goldleaf reliefs, Artsplace, Annapolis Royal, N.S., 2000 color catalog "Far and Wide" Juried Bienials, Art Gallery of Nova Scotia; 1996 to '99, travelling, catalogs "Moku Hanga Travelling Exhibition: Contemporary Japanese Woodcuts...

Utagawa Hiroshige II (1829-1869), 'Kintai Bridge at Iwakuni in Suo Province' (Suo iwakuni kintai-bashi), from the series 'One Hundred Views of Famous Pla...

From Interior Series. Woodcut and screen print in colors on Museum Board. Hand signed, dated and numbered by Roy Lichtenstein. Published by Gemini G.E.L., Los Angeles.. Corlett 247...

Isabel Mendoza (Mexico) 'Los saqueadores', 2019 woodcut on paper Guarro Biblos 250g. 29.2 x 44.1 in. (74 x 112 cm.) ID: MEI-101

Medium: wood engraving (after the watercolor). Printed in Paris in 1955 at the atelier Coulouma for "Mille nuits et une nuit" (1001 Nights) which was the last major portfolio by Kees...