Art by Medium: Woodcut

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...

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

Ryoanji Temple in the Snow at Sunset is an original artwork realized in 1850 by Hasegawa Sadanobu (1809-1979). Chuban yokoe. From the series "Miyako meisho no uchi", Famous Viws o...

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...

Signed and titled in pencil, from the edition of 25. A young native girl in traditional clothes. The turbulent times of the 70’s set the tone for Fuentes' approach to creating soc...

Yakushae is an original modern artwork realized by Utagawa Kunisada in 1840s Woodcut print Chuban format. From the series "Mitate Yakusha gojusan tsui no uchi" (Actors in front of ...

Salvador Dali (1904-1989) - The Paradise, Canto 18 - La Splendeur de Béatrice Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publi...

This piece titled "E. T. Doodle" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h...

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...

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...

Jesus and the Disciples is an Original woodcut print realized by François Bouchot in 1922. The artwork is in good condition and included a brown cardboard passpartout (36.5x27.5 cm). No signature. François Bouchot (1800-1842), peintre et graveur, est né à Paris en 1800. Il étudia la gravure sous la direction de Richomme, puis devint élève de Regnault, puis de Lethière, et obtint le grand prix...

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...

The Beach is an artwork realized by Raphael Drouart in the mid-20th Century. Woodcut. Good condition. Hand signed..

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...

This piece titled "High and Low II" 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 ...

Eric Gill, 'Naked Girl in Spray, Head Thrown Back to Left, Four Leaves' and 'Naked Girl in Spray, Head Upright, Hands Over Head', wood engraving, 1930, edit...

Rooster is a vintage woodcut print realized by Jean Lucrat in 1948. Good condition on a cream colored paper. No signature, on the back the title in french language. Jean Lurçat (French: 1 July 1892 – 6 January 1966) was a French artist noted for his role in the revival of contemporary tapestry. In order to fully appreciate and understand the works of Jean Lurçat, one must view them in the context of the history of tapestry, in particular, the downfall of its existence during the rise of the Renaissance. It was during this time that tapestry was somewhat re-invented, where by traditional techniques were misplaced in the likening of tapestry to paintings by artists of the likes of Raphael. Jean Lurçat is largely responsible for its revival in the 20th century when he redefined the importance of designing tapestry in a way that embraced the integrity of authentic tapestry...

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...

Der Wald or The Forest consists of nine wood block prints in a single portfolio. In each of the nine images a single tree is printed cleanly in solid black on manila colored archival...

Luis Miguel Valdes (Cuba, 1949) 'Vecindario I' (Neighborhood I), 2020 woodcut and watercolor on paper 44.5 x 80.4 in. (113 x 204 cm.) Edition of 10 ID: VAL-599 Unframed Luis Miguel ...

Sumo Tournament is an original Woodcut print realized in mid 19TH century by Utagawa Kunisada. Good condition and Beautiful colored woodblock print. This wonderful modern artwork represents Japanese Sumo...

Genjie is an original artwork realized in 1850 by Utagawa Kunisada (1786-1865). Oban yokoe. From the series "Sono Sugata yukari no utsushi-e", 39th chapter. Genji and his son Yug...

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...

"The Bighorn at Night" is an original woodcut signed and titled by the artist, Carol Summers. It is edition 48/50. Catalogue raisonné listing: cat. 105...

Luis Miguel Valdes (Cuba, 1949) 'Torso I', 2006 woodcut on paper Guarro Biblos 250g. 18.6 x 11.1 in. (47 x 28 cm.) Edition of 20 Unframed ID: 1G200613 Hand-signed by author _________...

Artist: Kiyoshi Saito – Japanese – (1907-1997) Title: Katsura, Kyoto (L) Year: 1964 Medium: Woodblock Image size: 18 x 24 inches. Sheet size: 21.5x 28.5 inches. Signature: Signed, ...

Rare tryptich. Woodcut print nishike-e in loose sheets.  Utagawa Yoshikazu was a pupil of Utagawa Kuniyoshi and was active until around 1870. He is remembered for images of battles,...

Salvador Dali (1904-1989) Paradadise 6 - The Heaven of Mercury From the Divine Comedy (Dante) Woodcut in color Signature printed in the plate 1960/63 On BFK Rives vellum 32,8 x 26,4...

Charles Quest, 'Work Bench', 1949, wood engraving, edition 40. Signed, dated and numbered 9/40 in pencil. Titled and annotated 'wood engraving 1949' in pencil, in the artist’s hand, lower right margin. A fine, richly-inked impression, on off-white wove Japan, with full margins (1 3/4 to 2 inches), in excellent condition. Matted to museum standards, unframed. ABOUT THE ARTIST Charles Quest, a successful artist, and fine art instructor, worked in a variety of mediums including mosaic, stained glass, mural painting, and sculpture, but remains best known as a printmaker. 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 apparently 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 a lot of 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 the Graphic Arts Division of the Smithsonian's National Museum (now known as the American History Museum). This one-man exhibition was a remarkable achievement for Quest, who had been working in the medium for only about ten years. In the press release for the show, Kainen 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 also 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’. Charles Quest retired from teaching in 1971 and made relatively few prints in his later years, as the rigors of the medium were too demanding. He moved to Tryon, North Carolina, with his wife Dorothy, an artist and portrait painter, and remained active as a painter until his death in 1993. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted the interest of Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for the University's collection. In 1990 Georgetown University Library's Special Collections Division became the grateful recipient of a large body of Quest's work including prints, drawings, paintings, sculpture, and stained glass, as well as 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...

Eagle Owl is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London...

Kabuki Actor is an original Woodcut print realized in mid 19 century and attributed to Utagawa Kunisada. Beautiful colored woodblock print, included a cardboard passpartout. Includ...

Miotsukushi is an original modern artwork realized by Utagawa Kunisada and Hiroshige II in 1864 Woodcut Print Oban Format. From the series "Omokage Genji gojuyo" (In reference to t...

'Flower Piece' shows the artist, John Billmyer, to be a highly accomplished wood engraver. There are endless patterns and created details -- all executed flawlessly. Mostly made up o...

Kabukie - The Province of Rokuoku is an original artwork realized in 1862 by Utagawa Kunikazu (1830 - 1919) Chuban. From the series "Dai Nippon rokuju of Rikuoku" (60 provinces of Glorious Japan), The Province of Rokuoku. Meeting of the two rivals in the forest at night, Tanigoro with sumo apron and fan with the national colours. Signed: Kunikazu. Good impression, backed, glued at corners, oxidation, centrefold, a little bit rubbed. Utagawa Kunikazu (1830 - 1919) was a printmaker from Osaka. He had a famous teacher, the ukiyo-e artist Kunisada Utagawa...

Salvador Dali (1904-1989) - The Paradise, Canto 31 - The Archangel Gabriel Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publishe...

Color woodcut, Edition 30. Lotus is a twenty-six color woodcut from seven woodblocks printed in an edition of 30, plus proofs, on white Thai Mulberry paper. In this print, a compe...

Sumo Fighter is an original Woodcut print realized in mid 19 century by Utagawa Kunisada. Good condition and Beautiful colored woodblock print, included a cardboard passpartout (45...

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...

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...

Bull is a vintage woodcut print realized by Jean Lucrat in 1948. Good condition on a cream colored paper. No signature, on the back the title in fren...

Landscape from "Fugaku hyakkei" is an original modern artwork realized by Katsushika Hokusai (31 October 1760 – 10 May 1849). Original Woodcut print from the series "Fugaku Hyakkei" (100 views of Mount Fuji). From the second posthumous edition 1878. Passepartout is included. Publisher Eiraku Toshiro. Sheet dimensions: 24 x 26 cm. Good conditions. Signs of age and wear. Hokusai created the monumental Thirty-Six Views of Mount Fuji both as a response to a domestic travel boom in Japan and as part of a personal obsession with Mount Fuji. Katsushika Hokusai (31 October 1760 – 10 May 1849) known simply as Hokusai, was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. Hokusai is best known for the woodblock print series Thirty-Six Views of Mount Fuji which includes the internationally iconic print The Great Wave off Kanagawa...

Kabukie is an original modern artwork realized by Utagawa Kuniyoshi (1798 – 1861) in the half of the 19th Century. Original woodcut from the series...

Gabriel Macotela (Mexico, 1954) 'Untitled', 2020 woodcut with 3 plates on paper Intaglio 300 g. 28.6 x 43.2 in. (72.5 x 109.5 cm.) Edition of 30 ID: MAG-102 Unframed

Jose Luis Cuevas (Mexico, 1934-2017) Artist Proof 'Fantasmas del Centro Histórico V', 2004 woodcut on paper Guarro Biblos 250g. 20.9 x 16 in. (53 x 40.5 cm.) Edition of 60 Unframed I...

Woodcut on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 174, 1968. Published by Aimé Maeght, Éditeur, Paris; print...

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...

Tree is a woodcut realized by an unknown artist in the early 20th Century. Very Good conditions. the artwork is depicted through confident strokes.

Kabuki Scene is an original artwork realized in the mid 19th century by the Japanese master Utagawa Kunisada (1786-1865). Color woodcut print. The artwork is a rare triptych (each ...

This woodcut print evokes the peacefulness of ocean waves depicted in bright pink and deep, dark cobalt blue bringing2 to mind the tradition of Japanese printing while being distinct...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative takes the audience on a journey into the imagination. In October 2023 Isabel won the Evelyn Williams Drawing Award at the Trinity Buoy Wharf Drawing Prize. Known as the UK’s most prestigious annual open exhibition for drawing; part of the prize is a solo show at Hastings Contemporary, scheduled for 2024. Whilst Isabel always has a tale to tell for each of her images, you may or may not choose to go on the journey with her or you may indeed have a different story, one of your own that jumps off the page at you, that that you decide to follow. Artwork Details: Isabel Rock , 'Staring at the Sun' 99.7 x 70.2cm, collaged woodblock print and acrylic ink on 410gsm Somerset Satin paper, 2011 In Isabels own words; 'Staring at the Sun' The man stood on the mountain and stared at the golden sun. The sun stared back at him, its heat blazed and burnt his eyes, the birds sang a maddening tune like they were pecking at his eardrums. The man pointed his finger and shouted, ' you lied to me' at the sun. The sun laughed and said 'you wanted to believe me. I told you what you had already decided in your head to be the most convenient thing for you.' The man raged and hopped in what looked to the birds like a beautiful dance. 'Trickery, skulduggery!' he shouted. 'villain, thief, abomination!' The sun blinked and smiled calmly. It had seen a lot from humans, there was nothing that could surprise it now. *Please note we are happy to ship this work rolled in an art tube. Whilst the work is on heavy duty art paper and mixed media, the artist is happy that the painting will be fine rolled in a tube. This is a more cost effective and environmentally sound method of shipping. Artwork Provenance: from the Artist Studio photo credits, Isabel working, black and white shots, James Brown About Isabel Rock and her work: Taking inspiration from Japanese woodblock prints and Indian miniature painting Rock has developed a unique collage technique that combines bold structures with large-scale woodblock prints and intricate detailing. The subject is a grand mixture of humour, drama, hidden morals, fanciful characters, modern culture, mythical beings and fantastical situations. Rock creates a world that pulls you in and demands your attention. Quality of line is paramount, the drawings are created using a dipping pen and acrylic ink. An essential tool is a squirrel’s hair brush that gives incredible fine lines and was purchased on her travels in India. Born in Hammersmith, London in 1981, Rock knew her destiny was to be an artist. Studying Fine Art Printmaking at The University of Brighton and graduating with First Class Honours in 2004 she went on to do a Masters Degree at The Royal College of Art in London, continuing her studies in printmaking and drawing, graduating in 2008. Her first solo show at Bearspace Gallery in Deptford, London in April 2009 sold out and was the beginning of a career that continues to rise. Rock participated in the first ever India Art Fair represented by Art 1821...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Artist: Kiyoshi Saito – Japanese – (1907-1997) Title: Boy from Aizu Year: circa 1950s Medium: Woodblock Image size: 15 x 10 inches. Sheet size: 16.5x 11 inches. Signature: Signed, ...

John DePol, 'Magic Hour, Autumn', chiaroscuro wood engraving, 1981, edition 160 in 1983. Signed, dated and titled in pencil. Signed in the block, lower right. A superb impression, on...

Flirtage is a wonderful wood-cut original print by Ferdinand Florentin Froment, d'après A. Forestier. A woman crouching on her chair, is receiving some flatterings from a man on he...

Ex Libris - Hanns Heeren 1893-1963 is an Artwork realized in Early 20th Century, by Hans Michael Bungter from Germany.  Etching on ivory paper.  Hand Signed on the right corner. Sig...

Signed lower right, 'Keiko Minami' (Japanese, 1911-2004) and inscribed, lower left, with number and limitation, '26/50'. Japanese painter and printmaker, Keiko Minami became well kn...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Bijin and children on a porch with lanterns is an original modern artworks realized by Utagawa Kunisada II between 1860-1875 Mixed colored woodcut print (nishiki-e). Format: ôban vertical triptych...

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...

Portrait of Man with Pipe is a superb color woodblock print on paper, from the Japanese print-series “Taiheiki eiyu den”, 'Tale of Grand Pacification', designed by Utagawa Kuniyoshi ...