Art by Medium: Woodcut

Hajime Namiki, 'Weeping Cherry 16 A', color woodblock print, 2012, edition 200. Signed in pencil and with the artist’s red seal. Titled, dated, and numbered '2/200' in pencil. A supe...

Ohara Koson, 'Wading Egret', color woodblock, c. 1900 - 1910. Signed 'Koson' in black ink with the artist’s red seal beneath, lower left. A superb, skillfully-inked impression, with ...

Clare Leighton, 'Washing Clothes, Corsica, 1934, wood engraving, edition 60, Boston Public Library 258. Signed, titled, and numbered '20/60' in pencil. A superb, richly-inked impress...

Salvador Dali (1904-1989) Hell 22 - The Liars, 1963 Wood engraving from "Divine Comedy" with the signature printed in the plate On BFK Rives vellum 32,8 x 26,4 cm (c. 13 x 10") REF...

Toshi Yoshida, 'Woman In Bagdad', color woodblock print, 1954, edition not stated. Signed, dated, and titled, in pencil. A fine, richly-inked impression, with fresh colors, on cream-wove Japan paper; the full sheet with margins (1/2 to 7/8 inch); minor toning in the margins, otherwise in excellent condition. Self-carved and self-printed by the artist. Archivally sleeved, unmatted. Image size 14 13/16 x 9 7/8 inches; sheet size 16 1/4 x 11 inches (oban tate-e). Literature: Oliver Statler, Modern Japanese Prints: An Art Reborn, 1959, pp. 168–69. Eugene M. Skibbe, “Yoshida Toshi 1911–1999: Diversity, Change, and Continuity in the Yoshida Art Tradition,” Andon, no. 53, Society for Japanese Arts, 1996, pp. 5–14. Kendall H. Brown, “Yoshida Toshi: The Nature of Tranquility,” in A Japanese Legacy: Four Generations of Yoshida Family Artists, Minneapolis Institute of Arts, 2002, pp. 72–80; Woman in Bagdad catalogued p. 91, no. 55. Exhibitions: 'Japan & Beyond: The Yoshida Family Legacy in Japanese Woodblock Prints', curated by Kendall Brown and Quyen Le, The Ruth and Sherman Lee Institute for Japanese Art, Hanford, CA. February 3, 2004 - March 27, 2004. 'Color in Relief: Wood Block Prints from Origins to Abstraction', Georgetown University Library, 2016. Collections: Art Institute of Chicago, Clark Center for Japanese Art and Culture, Minneapolis Institute of Art, University of California Merced, University of Oregon (The Lavenberg Collection of Japanese Prints). ABOUT THIS WORK Woman in Bagdad belongs to an important group of figure studies Yoshida created in 1954 as he moved beyond the naturalistic landscape tradition associated with his father, Hiroshi Yoshida. The veiled figure is reduced to broad, interlocking shapes of deep brown, ochre, and blue-green, separated by narrow carved white lines. Yoshida appears to have printed the composition from a single block, applying individual colors to separately defined areas—a technique closely related to the white-line color woodcut developed by B. J. O. Nordfeldt and the Provincetown Printers and refined by Blanche Lazzell. The continuous white channels serve as both boundaries between colors and an active linear structure, transforming the figure into a near-abstract arrangement of flattened forms while retaining its human presence. Created at a pivotal moment in Yoshida's development, the print anticipates the increasingly nonobjective woodcuts that occupied him during the following two decades. ABOUT THE ARTIST Yoshida Toshi (1911–1995) began training at the age of fourteen under his father, Yoshida Hiroshi, a leading artist of the twentieth-century Japanese printmaking revival known as shin-hanga (“new prints”), which continued the traditional collaborative system of Japanese woodblock printing. From 1932 to 1935, Toshi studied at the Taiheiyo-Gakai (Pacific Painting Association), which his father had helped establish. Before the Pacific War, Toshi traveled extensively with his father in Asia, Europe, Egypt, and the United States. He later continued his international travels, particularly in Mexico, the United States, Canada, and Africa. His early prints remained strongly influenced by Hiroshi's work and the highly refined techniques practiced in the Yoshida studio. Following his father's death in 1950, Toshi assumed responsibility for the studio while increasingly pursuing an independent artistic direction. Beginning in the early 1950s, he undertook a highly personal exploration of abstraction, creating and printing his own works in the sōsaku-hanga (“creative print”) manner, in which the artist assumes direct responsibility for the design, carving, and printing. During this exceptionally productive period, Toshi produced a large body of nonobjective woodcuts characterized by complex geometric structures, richly layered color, and experimentation with the expressive possibilities of the woodblock medium. His abstract work placed him among the more adventurous Japanese printmakers of the postwar period. The British Museum holds a substantial group of these works, including Misty Dance (1957), Frontier (1962), Mystery (1964), Isotope (1968), and Where (1972). In the early 1960s, Toshi also returned to representational subjects, eventually concentrating on large-scale scenes of African wildlife in its natural habitat. In 1984 he published the first of a series of illustrated children's books devoted to African animals (Dōbutsu Ehon Shirīzu), which he continued into the early 1990s. In 1966, with artist Yuki Rei...

JESSIE ARMS BOTKE (1883 – 1971) PELICANS c 1927-30 Color woodcut, small edition 13 3/8” x 15 3/8”, sheet 15 x 17”. Signed in pencil. Annotated “Botke Prints” Good impression and col...

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...

FRANCES H. GEARHART and Sisters (THE GEARHARTS) FRUIT FOR SALE c.1928 Color block print. Signed “The Gearharts” and titled. This is an original block print from “Let’s Play”, an...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 1/8 to 1 1/4 inches), in excellent condition. A work from La Grange’s celebrated series of woodcuts 'Drama and Color in the America's Cup Races'. Image size 10 x 10 11/16 inches (254 x 271 mm); sheet size 12 1/4 x 13 1/4 inches (311 x 337 mm). Archivally matted to museum standards, unframed. When the artist created this print in 1934, the 'Yankee' was one of the most promising yachts eligible for the America's Cup but ultimately 'Rainbow' was chosen to defend against England's 'Endeavor' in that year's race. The 'Endeavor' was built for Thomas Sopwith who used his aviation design expertise to ensure the yacht was the most advanced of its day with a steel hull and mast. She was launched in 1934 and won many races in her first season but the Cup challenge was blighted by a strike of Sopwith's professional crew prior to departing for America. Forced to rely mainly on keen amateurs, who lacked the necessary experience, the campaign failed. 'Rainbow' won the series 4–2. This was one of the most contentious of the America's Cup battles and prompted the headline "Britannia rules the waves and America waives the rules." ABOUT THE ARTIST Jacques La Grange was born in Clanwilliam (near Cape Town) in South Africa in 1895. He studied at London University and later immigrated to the United States. La Grange established himself as a painter, illustrator, and printmaker specializing in nautical subjects. He and his wife, Helen La Grange, published 'Drama and Color in the America's Cup Races' in 1934 and 'Clipper Ships of America and Great Britain 1833-1869', in 1936. Both were deluxe hardcover limited edition volumes with signed original color woodblock prints. La Grange had solo exhibitions at the Buchanan Gallery in 1929; the Babcock Gallery and the 56th Street Gallery, New York, in 1930; and at the Nicholas Roerich...

This woodcut print on paper is composed of a central, circular shape in violet on a blue patterned background. The monotype brings to mind the tradition of Japanese printing while be...

Kawase Hasui, 'Zentsuji Temple in the Rain' from the seres 'Collected Views of Japan II', color woodblock print, 1937. Signed Hasui in black ink, with the artist’s red seal Kawase, ...

FRANCES H. GEARHART (1869-1958) SNOWBOUND c.1928 Color block print, Signed and titled in pencil. 11 x 6 ½” sheet c. 14 x 9” Laid down on backing board. The usual slight browning a...

Gustave Baumann, 'Taos Placita', color woodcut, 1947, edition 125. Baumann 132. Signed, titled, and numbered '20-125' in pencil; with the artist’s Hand-in-Heart chop. A superb, richly-inked impression, with fresh colors, on fibrous oatmeal wove paper; the full sheet with margins (2 to 3 1/8 inches); slight rippling at the left sheet edge, in excellent condition. Matted to museum standards, unframed. Image size 9 5/8 x 11 1/4 inches (244 x 286 mm); sheet size 13 1/4 x 17 inches (337 x 432 mm). Collections: Harwood Museum of Art, New Mexico Museum of Art, Phoenix Art Museum, Scottsdale Art Museum, Wichita Art Museum. ABOUT THE ARTIST Gustave Baumann (1881-1971) was a renowned printmaker and a leading figure of the American color woodcut revival whose exquisite craftsmanship and vibrant imagery captured the essence of the Southwest. "A brilliant printmaker, Baumann brought to the medium a full mastery of the craft of woodworking that he acquired from his father, a German cabinetmaker. This craftsmanship was coupled with a strong artistic training that resulted in the handsome objects we see in the exhibition today. After discovering New Mexico in 1918, Baumann began to explore in his woodblock prints of this period the light. color, and architectural forms of that landscape. His prints of this period are among the most beautiful and poetic images of the American West." —Lewis I. Sharp, Director, Denver Art Museum Baumann, the son of a craftsman, immigrated to the United States from Germany with his family when he was ten, settling in Chicago. From 1897 to 1904, he studied in the evenings at the Art Institute of Chicago, working in a commercial printmaking shop during the day. In 1905, he returned to Germany to attend the Kunstwerbe Schule in Munich, where he decided on a career in printmaking. He returned to Chicago in 1906 and worked for a few years as a graphic designer of labels. Baumann made his first prints in 1909 and exhibited them at the Art Institute of Chicago the following year. In 1910, he moved to the artists’ colony in Nashville, Indiana, where he explored the creative and commercial possibilities of a career as a printmaker. In 1915, he exhibited his color woodcuts at the Panama-Pacific International Exposition in San Francisco, winning the gold medal. Among Baumann’s ongoing commercial activities was his work for the Packard Motor Car Company from 1914 to 1920 where he produced designs, illustrations, and color woodcuts until 1923. In 1919, Baumann’s printmaking work dominated the important exhibition of American color woodcuts at the Detroit Institute of Arts. Twenty-six of his prints were included, far more than the works of any other artist. A set of his blocks, a preparatory drawing, and seven progressive proofs complemented the exhibition. That same year, Baumann worked in New York and, over the summer, in Provincetown, Massachusetts. His airy images of Cape Cod employed soft, pastel colors and occasionally showed the influence of the white-line woodcut technique. Many of his Chicago artist friends had traveled to the southwest, and Baumann became intrigued by their paintings, souvenirs, and stories of an exotic place named Taos, New Mexico. In the summer of 1918, he spent the summer in Taos sketching and painting before visiting Santa Fe. Paul Walter, the director of the Museum of New Mexico, offered him a studio in the museum's basement. Inspired by the rugged beauty of the Southwest—the vibrant colors and dramatic landscapes of the region became a central theme in his work, influencing his artistic style and subject matter for the remainder of his career. Later in the decade, he traveled to the West Coast and made prints of California landscape. Baumann's prints became synonymous with the Southwest, capturing the spirit of its place in America's identity with a unique sense of authenticity and reverence. His iconic images of desert vistas, pueblo villages, and indigenous cultures served as visual tributes to the region's rich cultural heritage, earning him a dedicated following among collectors and curators alike. A true craftsman and artist, Baumann completed every step of the printmaking process himself, cutting each block, mixing the inks, and printing every impression on the handmade paper he selected. His dedication to true craftsmanship and his commitment to preserving the integrity of his artistic vision earned him widespread acclaim and recognition within the art world. About the vibrant colors he produced, Baumann stated, “A knowledge of color needs to be acquired since they don’t all behave the same way when ground or mixed...careful chemistry goes into the making of colors, with meticulous testing for permanence. While complicated formulae evolve new colors, those derived from Earth and metal bases are still the most reliable.” In the 1930s, Baumann became interested in puppet theater. He designed and carved his own marionettes and established a little traveling company. From 1943 to 1945, the artist carved an altarpiece for the Episcopal Church of the Holy Faith in Santa Fe. In 1952, a retrospective exhibition of his prints was mounted at the New Mexico Museum of Fine Arts. Throughout his prolific career, Baumann executed nearly four hundred color woodcuts. Baumann’s woodcuts...

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...

Charles Turzak, 'Loop Alley (Chicago)', color woodcut, edition c. 25, c. 1935. Signed and titled in pencil. A fine, richly-inked impression, with fresh colors, on cream wove Japan pa...

KIYOSHI SAITO (Japanese 1907 - 1997) KYOTO (B) 1966 Color woodcut, signed, titled, dated and no. 5/100 in pencil. Edition 100. Image 14 3/4 x 20 5/8 inches. Full margins with deckle...

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

This is a signed woodcut engraving entitled "Mine Shaft" created by Albert Abramovitz in 1935, after a trip to the Soviet Union. It depicts two Russian workers constructing a mine sh...

Lyonel Feininger, 'Die Architektur' (Architecture), also 'Stadtbild' (Cityscape), woodcut, edition – proofs only in 1920; 50 in 1921. Prasse W 232. Signed in pencil. A fine, richly-inked impression, on off-white Japan paper, with full margins (1 1/4 to 2 1/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 6 x 8 7/8 inches (152 x 229 mm); sheet size 9 1/2 x 11 7/8 inches (241 x 302 mm). No. 11 of the portfolio 'Zwolf Holzschnitte von Lyonel Feininger', 1921. Provenance: Peter Deitsch collection; exhibited Weimar Museum, 1968. Impressions of this work are in the permanent collections of: the Busch-Reisinger Museum (Cambridge, Mass.), Bauhaus-Archiv (Germany), Hamburger Kunsthalie (Germany), Pfaizische Landesgewerbeanstalt (Germany), Kaiser Wilhelm Museum (Germany), Staatliche Graphische Sammlung (Germany), and the Philadelphia Museum of Art. ABOUT THE ARTIST Lyonel Feininger 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...

"House Cleaning in Preparation for the New Year" - Japanese Woodblock on Paper House cleaning scene by Kitagawa Utamaro (Japanese, 1753-1806). This print was originally published around 1796-1799, with this example being a later reprint. The full scene is five sheets - there are two more sheets to the right that show more members of the house. However, it is these three sheets that contain the majority of the action - a maid sweeping at a mouse, a lady fainting, and a painting moved aside to allow for cleaning. Presented in a new black mat. Mat size: 24"H x 38"W Paper size: 17.75"H x 33"W Print Impression: 14.63"H x 29.5"W Utamaro Kitagawa...

Charles Turzak, 'The Workers (No. 2)', woodcut, edition 50, c. 1935. Signed and numbered 2/50 in pencil. A fine, richly-inked impression, on cream wove Japan paper, with full margin...

Charles Turzak, 'The Workers (No. 1)', woodcut, edition c. 50, c. 1935. Signed and titled in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove...

Jacques La Grange, 'The Yankee', color woodcut, edition 500, 1934. Signed and numbered '25/500' in pencil. A fine impression, with fresh colors, on cream wove paper, with margins (1 ...

ANOTHER DAY is an original limited edition woodcut by the American painter and sculptor, Otto Neals. The woodblock used to print ANOTHER DAY was hand carved by Otto Neals and printed...

"Maternidad" is a woodcut and screenprint by Colombian artist Pedro Hanne Gallo, from the Graficario de la Lucha Popular en Colombia -- a portfolio assembled by the Prografica Worksh...

Mokuchu URUSHIBARA Horse bowing, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 26 x 35 cm (c. 10.2 x 13.7 in) INFORMATION : Engraving published by...

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

Georges Rouault Crucifixion Woodcut and embossing (Raymond Jacquet workshop) Printed signature in the plate On Arches vellum 15 x 11" (38 x 28 cm) INFORMATION : Woodcut published i...

Charles Turzak, 'Under the Bridge', color woodcut, edition c. 50, 1934. Signed and titled in pencil. A fine, richly-inked impression, with fresh colors, on cream wove Japan paper; th...

Radiant Prince Genji is an original modern artwork realized by Utagawa Kunisada in 1850s. Woodcut print Oban yokoe format. From the series "Sono sugata yukari no utsushie" (Faithfu...

FRANCES H. GEARHART (1869-1958) (Mt.) SAN JACINTO c. 1926 Color block print. Signed in pencil. Unknown edition but uncommon. Image 6 5/8 x 4 1/8 inches. On Gearhart's typical fibrous japan paper. Sheet 10 ½ x 5 7/8 inches. Generally fresh with her usual pinholes along right margin for printing, slight bit of discoloration in the margins Provenance: Whitmore - Print Corner, Hingham MA. Their Gearhart inventory no. They were Gearhart's principal East coast dealer in the 30's. Obtained from the Whitmore Collection’s grandson in 1995. Old Print Shop...

Utagawa Kunisada (Tokoyuni III), 'Tokaido', color woodblock, 1863. Signed in the cartouche, lower right. A fine impression, with rich, fresh colors and pronounced woodgrain, the full...

Two women fishing is an original modern artwork realized by Harunobu Hishikawa in the Late 19th Century. Very good reprint, glued at upper corners. Passepartout. Woodcut Print Oba...

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...

Wassily Kandinsky Woodcut in color on Dutch laid paper Cut from the folio Klänge, conceived 1911-1912, published in 1913 Published by R. Piper, Munich Printed by F. Bruckmann A.G., ...

Woodcut on handmade Japanese paper with metallic inks Framed dimensions: 44.5 x 31.38 in Signed in pencil lower right corner, titled and numbered in pencil lower left corner Ed. S...

Kamei Tobei, 'First Snow of the Year at Kitano (Kitano Hatsu Yuki)', color woodblock print, c. 1930s. Signed Kamei Tobei in black ink, with the artist red seal Eiichi (the artist’s g...

Composition Woodcut, c. 1935, printed 1966 Signed in the block lower left (see photo) This is the first printing of this image. Created in 1935, it was never printed during Kandinsky's lifetime. It is a POSTHUMOUS printing. Published by Gualtieri di San Lazzaro, Éditions XXe Siècle, Paris Issued in XXe Siècle, nouvelle série, no. 27, December 1966, Centenaire de Kandinsky Unsigned and unnumbered, as issued Edition commonly reported as approximately 2,000 Condition: Excellent Image size: 9 1/8 x 10 15/16 inches Reference: Roethel 24b Created in 1935 but apparently left unprinted during Kandinsky’s lifetime, Composition was first issued posthumously in December 1966 in the Kandinsky centenary number of the Parisian art review XXe Siècle. The woodcut was printed from Kandinsky’s original block rather than reproduced photographically. It is therefore properly described as an original, posthumously printed woodcut—not as a reproductive print “after” Kandinsky. Contemporary documentation identifies the composition as having been cut by the artist in 1935 and first published by Éditions XXe Siècle in 1966. Publication details and dimensions The print belongs to Kandinsky’s final period, begun after the closing of the Bauhaus and his move from Germany to Neuilly-sur-Seine, near Paris, in 1933. Its vocabulary differs markedly from the romantic landscapes, horsemen and apocalyptic subjects of his early Munich woodcuts. The forms are now self-contained and biomorphic: circles, hooks, floating linear elements and irregular organic silhouettes coexist within an open field. Although nonrepresentational, they suggest minute organisms, astronomical bodies or signs belonging to an invented visual language. The black-and-white medium gives the image unusual clarity. Solid forms function like sustained musical tones, while thin lines, dots and isolated marks provide accents and intervals. Areas of untouched paper are equally active, allowing the components to float without conventional gravity or horizon. Kandinsky organizes these elements through visual tension rather than perspective: large and small, dense and open, curved and angular forms establish a rhythmic equilibrium across the sheet. The woodcut process was fundamental to Kandinsky’s development. Its demand for simplification encouraged him to reduce images to essential contrasts of shape, line and ground. Nearly two-thirds of his approximately two hundred prints were made between 1900 and 1911, and his increasingly abstract woodcuts for Klänge played a decisive role in his movement away from representation. MoMA’s Kandinsky printmaking overview In this late composition, Kandinsky returned to the medium with the more refined geometry and organic imagery of his Paris years. The circumstances of the 1966 publication are integral to the work’s history. XXe Siècle, directed by the Italian-born critic and publisher Gualtieri di San Lazzaro, regularly included original prints by major modern artists. Issue no. 27, entitled Centenaire de Kandinsky, commemorated the hundredth anniversary of Kandinsky’s birth. It contained two original Kandinsky woodcuts...

Woodcut print on paper. Not signed. Very good condition. This piece highlights Rudolph's versatility, scaling back his usual highly detailed, frantic background gouges in favor of...

WERNER DREWES (German-American 1899-1985) TREE AT NIGHT, 1964 (Rose 241) Color woodcut Signed titled, dated and numbered 40 /210 all in pencil below image. Image 11 1/8 x 15 7/8 inc...

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...

WILLIAM HOGRATH (1767- 1764) THE BATHOS / Tail Piece 1764 (Paulson 1989: 216 I/I Paulson 1965/70: 216 I/I) Engraving Plate 12 7/8 x 13 3/8, sheet 17 ¾ x 18 ¾ Designed & Engrav’d by Wm Hogarth at left and Published according to Act of Parliam’t March 3, 1764 at right. Good condition on thick laid paper Small bit of tape on the left & right sheet edges small stan lower sheet edge all on recto. This Hogarth’s last print is fascinating as it is prophacy about death. Various institutions have interesting commentaries - to wit: Chicago Art Institute: Hogarth created The Bathos toward the end of his life. It is considered one of the bleakest artworks of the 18th century because it depicts the Apocalypse without an afterlife. The Angel of Death even collapses in exhaustion after having destroyed the world. In his hand is an execution decree and around him lies a mass of broken objects. Princeton: Hogarth’s last print, The Bathos,….. is filled with all manner of images denoting the end of life as we know it. Entry no. 216 in Ronald Paulson’s catalogue raisonne Hogarth’s Graphic Works, 3rd revised edition says “This print is the culmination of such pessimistic images . . . . [taking] his general composition, the configuration of objects, and some of the particular items, from Dürer’s engraving, Melancholia; but he also recalls Salvator Rosa’s Democritus in Meditation (which derives from Dürer’s print) with a scroll at the bottom of the etching: ‘Democritus the mocker of all things, confounded by the ending of All Things’ (Antal, p.168).” Newfields (Indianapolis Museum of Art): Hogarth intended this engraving to serve as the tailpiece to bound volumes of his collected engravings and, appropriately, it proved to be his last engraving. Father Time has died and his last will and testament has been witnessed by the three Fates. He is surrounded by a landscape of death, decay, and ruin. Hogarth aimed this print at dealers in “dark” Old Masters paintings who promoted the idea that ruins evoked sublime feelings in viewers—a sentiment, Hogarth wrote, that was reducing the world to ruin. British Caricature...

Title: Sharing Abundant Space Sharing Abundant Space - Painting Figurative Maximalism Contemporary Floral Bold Invest In this one-of-a-kind abstract impressionism artwork by Karnis...

Damien Hirst, Pridinol, 2010, AP Medium: Woodcut print on 350gsm Hahnemühle paper Dimensions: 96.5 x 91.4 cm x (38 x 36) in Edition: 24, this being an Artist's Proof Signature: Hand...

Woodblock print (nishiki-e), c. mid-19th century. A powerful kabuki actor portrait from the Utagawa school, depicting a male actor shown half-length against a deep blue ground. The ...

Woodcut print on paper realized by Irma Stern in the mid-20th Century. Hand watercolored. Hand signed and numbered in pencil lower right. Edition of 23/40. Good condition.

'Lot Cleaning, Los Angeles', wood engraving, edition 60, Zeitlin & Ver Brugge 69. Signed, titled and numbered '51/60' in pencil. A brilliant, black impression, on Japanese Kitaka...

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...

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...

Meeting in Akashi is an original modern artwork realized by Utagawa Kunisada II and Hiroshige II in 1864. Woodcut Print Oban Format. From the series "Omo...

JUN'ICHIRO SEKINO (1914-1988) TWO SIAMESE CATS Japanese Woodblock Print, c. 1960, 1st edition, pencil signed, titled and numbered 90/200 with red Sekino pub...

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

Barbara Latham, 'Bear Family', wood engraving, edition not stated, 1937. Signed in the block, lower left. Dated in the block, lower right. A fine, richly-inked impression, on cream w...

Tiger Lily Color woodcut, 1939 Unsigned (as usual) Publisher: Takemura Hideo (active Yokohama 1926-1940) Condition: Excellent Image/sheet size: 15 3/8 x 10 7/8 inches Provenance: Robert O. Muller Estate Biography Hodo Nishimura...

Mokuchu URUSHIBARA White-billed Pie, c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 32 x 26.5 cm (c. 12.59 x 10.23 in) INFORMATION : Engraving pub...

Ex Libris  - Woman Perfected is an Artwork realized for Giorgio Balbi in Mid 20th Century. Woodcut. Good conditions.

Page Size: 13 x 27 in. Frame Size: 21.5 x 32.5 in. This triptych features a dramatic fight scene of Kabuki theatre performed by three actors.

Ohtsu Kazuyuki, 'Kyo no Aki - Komyō-ji' (Komyō-ji temple at Autumn in Kyoto), large-scale color woodblock print, ed. 100, 2012. Signed, titled in Japanese, numbered 78/100, and date...

This is an original gallery show poster the Boris Mirsky Gallery, Newbury St. Boston. titled Sculpture Prints Drawings. It is dated 1962. it is in red and black. Leonard Baskin (Augu...

Mokuchu URUSHIBARA Pair of horses playing (red), c. 1930 Woodcut after on an ink drawing Signed with the artist's stamp On paper 28 x 39 cm (c. 11.02 x 15.35 in) INFORMATION : Engr...