Art by Medium: Woodcut

Donna Evans' "Angel and Skeleton" shows an angel reaching out to a skeleton as if to rescue it from a wooded landscape. Donna Evans is one of a group of N...

Night Heron 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 London,...

Plate from Faithful Images of the Radiant Prince Genji is an original modern artwork realized by Utagawa Kunisada in 1850s. Woodcut print Oban yokoe format. From the series "Sono...

Gregory Amenoff is a painter who lives in New York City and Ulster County, New York. He is the recipient of numerous awards from organizations including the American Academy of Arts ...

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...

Reading News in Cafe is an original woodcut print on ivory-colored paper realized by Paul Baudier (1881-1962) in the 1930s. On the lower right description in French. Very good con...

Ducks is an original woodcut print realized by Giselle Halff. Good condition, no signature. Included a white cardboard passpartout (39x29 cm).

Chicks are two original woodcuts realized by Giselle Halff. Good condition, included a whiate cardboard passpartout (69x49 cm). No signature.

Bird in the Branches is an original artwork realized by Giselle Halff in the mid-20th century. Original woodcut print. Good condition. Artist’s proof.

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

7-color woodcut on Somerset white 500 gsm

B. J. O. NORDFELDT (Bror Julius Olsson) 1878-1955) THE BRIDGE, 1906 Color woodcut signed, dated 1906 and numbered 150 in pencil. Image 8 x 10 - small margins as issued. 4 corners tipped to acid free support board. Nordfelt is one of the most important early twentieth century American Masters of the Color woodcut. This 1906 work predates many of the other woodcut masters. Nordfeldt had a peculiar numbering system. The number is not necessarily the edition number. Frances H. Gearhart, Blanche Lazzell, William S. Rice, Gustave Baumann, Margaret Patterson, Norma Basset Hall. Waldo Chase.

Great Sedge Warbler is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, ...

"Pura Vida" is an original color woodcut signed by Carol Summers. A multi-colored piece shows a waterfall with red flames behind it in the middle of the piece. On the left stands a tree with yellow leaves on a hill. To the right is a rainbow. This is an excellent example of Summer's printmaking, not just because of the technique and imagery, but because it numbered 1 of the edition of 125. In addition, it contains a personal inscription to the Milwaukee gallerist David Barnett, who has championed the work of Summers and produced catalogs of his work. Indeed, this print appears as no. 189 in the David Barnett Gallery's 1988 catalogue raisonné of Summer's woodcuts. Feel free to inquire if you would like to purchase a copy of the catalogue raisonné along with your Carol Summers print. Art: 24.25 x 24.75 in Frame: 36 x 35 in signed lower right titled and inscribed to David [Barnett] lower right edition (1/125) lower right Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

MARY TRAVIS (Active 1935 - 40) LOTUS FLOWER ROEDING PARK. c.1935-40 White line color woodcut. Signed and titled in pencil. Small edition. 10” x 8”. Full sheet. tears in upper margin. Travis worked in Berkeley, California and was probably a follower of William S...

Oiso, Tora ga ame is a woodcut print realized by Utagawa Hiroshige in 1832.  It is part of the suite The Fifty-three Stations of the Tokaido - Oiso. Very good condition.

Tim Engelland (American, 1950-2012) Snowy Night - Hitchcock, 1993 Woodcut 8 1/2 x 9 in. Titled, numbered, signed, and dated bottom: A/Proof, "Snowy Nigh...

David is a woodcut on paper from Marc Chagall's Poèmes portfolio, published in 1968. The image size is 13 x 10 inches and the art is framed in an ornate, gold-tone frame. Unsigned as...

"Ravanna's Palace Burning" is a woodcut signed by Carol Summers. The image combines landscape and architecture, which is typical of the works Summers produced during the 1980s and '90s. In the image, a dark building stands burning, bright red flames licking from the windows and rooftop. It stands beside an orange field framed in pink, probably representing a plaza. Beyond the plaza are multicolored trees, their branches reaching upward like the flames on the building. The playfulness of the image is enhanced by Summers' signature printmaking technique, which allows the ink from the woodblock to seep through the paper, blurring the edges of each form. Art: 24.5 x 37.25 in Frame: 30 x 42.75 in Numbered 53 of the edition of 125 Carol Summers (1925-2016) has worked as an artist throughout the second half of the 20th century and into the first years of the next, outliving most of his mid-century modernist peers. Initially trained as a painter, Summers was drawn to color woodcuts around 1950 and it became his specialty thereafter. Over the years he has developed a process and style that is both innovative and readily recognizable. His art is known for it’s large scale, saturated fields of bold color, semi-abstract treatment of landscapes from around the world and a luminescent quality achieved through a printmaking process he invented. In a career that has extended over half a century, Summers has hand-pulled approximately 245 woodcuts in editions that have typically run from 25 to 100 in number. His talent was both inherited and learned. Born in 1925 in Kingston, a small town in upstate New York, Summers was raised in nearby Woodstock with his older sister, Mary. His parents were both artists who had met in art school in St. Louis. During the Great Depression, when Carol was growing up, his father supported the family as a medical illustrator until he could return to painting. His mother was a watercolorist and also quite knowledgeable about the different kinds of papers used for various kinds of painting. Many years later, Summers would paint or print on thinly textured paper originally collected by his mother. From 1948 to 1951, Carol Summers trained in the classical fine and studio arts at Bard College and at the Art Students League of New York. He studied painting with Steven Hirsh and printmaking with Louis Schanker. He admired the shapes and colors favored by early modernists Paul Klee (Sw: 1879-1940) and Matt Phillips (Am: b.1927- ). After graduating, Summers quit working as a part-time carpenter and cabinetmaker (which had supported his schooling and living expenses) to focus fulltime on art. That same year, an early abstract, Bridge No. 1 was selected for a Purchase Prize in a competition sponsored by the Brooklyn Museum. In 1952, his work (Cathedral, Construction and Icarus) was shown the first time at the Museum of Modern Art in New York City in an exhibition of American woodcuts. In 1954, Summers received a grant from the Italian government to study for a year in Italy. Woodcuts completed soon after his arrival there were almost all editions of only 8 to 25 prints, small in size, architectural in content and black and white in color. The most well-known are Siennese Landscape and Little Landscape, which depicted the area near where he resided. Summers extended this trip three more years, a decision which would have significant impact on choices of subject matter and color in the coming decade. After returning from Europe, Summers’ images continued to feature historical landmarks and events from Italy as well as from France, Spain and Greece. However, as evidenced in Aetna’s Dream, Worldwind and Arch of Triumph, a new look prevailed. These woodcuts were larger in size and in color. Some incorporated metal leaf in the creation of a collage and Summers even experimented with silkscreening. Editions were now between 20 and 50 prints in number. Most importantly, Summers employed his rubbing technique for the first time in the creation of Fantastic Garden in late 1957. Dark Vision of Xerxes, a benchmark for Summers, was the first woodcut where Summers experimented using mineral spirits as part of his printmaking process. A Fulbright Grant as well as Fellowships from the Louis Comfort Tiffany Foundation and the Guggenheim Foundation followed soon thereafter, as did faculty positions at colleges and universities primarily in New York and Pennsylvania. During this period he married a dancer named Elaine Smithers with whom he had one son, Kyle. Around this same time, along with fellow artist Leonard Baskin, Summers pioneered what is now referred to as the “monumental” woodcut. This term was coined in the early 1960s to denote woodcuts that were dramatically bigger than those previously created in earlier years, ones that were limited in size mostly by the size of small hand-presses. While Baskin chose figurative subject matter, serious in nature and rendered with thick, striated lines, Summers rendered much less somber images preferring to emphasize shape and color; his subject matter approached abstraction but was always firmly rooted in the landscape. In addition to working in this new, larger scale, Summers simultaneously refined a printmaking process which would eventually be called the “Carol Summers Method” or the “ Carol Summers Technique”. Summers produces his woodcuts by hand, usually from one or more blocks of quarter-inch pine, using oil-based printing inks and porous mulberry papers. His woodcuts reveal a sensitivity to wood especially its absorptive qualities and the subtleties of the grain. In several of his woodcuts throughout his career he has used the undulating, grainy patterns of a large wood plank to portray a flowing river or tumbling waterfall. The best examples of this are Dream, done in 1965 and the later Flash Flood Escalante, in 2003. In the majority of his woodcuts, Summers makes the blocks slightly larger than the paper so the image and color will bleed off the edge. Before printing, he centers a dry sheet of paper over the top of the cut wood block or blocks, securing it with giant clips. Then he rolls the ink directly on the front of the sheet of paper and pressing down onto the dry wood block or reassembled group of blocks. Summers is technically very proficient; the inks are thoroughly saturated onto the surface of the paper but they do not run into each other. The precision of the color inking in Constantine’s Dream in 1969 and Rainbow Glacier in 1970 has been referred to in various studio handbooks. Summers refers to his own printing technique as “rubbing”. In traditional woodcut printing, including the Japanese method, the ink is applied directly onto the block. However, by following his own method, Summers has avoided the mirror-reversed image of a conventional print and it has given him the control over the precise amount of ink that he wants on the paper. After the ink is applied to the front of the paper, Summers sprays it with mineral spirits, which act as a thinning agent. The absorptive fibers of the paper draw the thinned ink away from the surface softening the shapes and diffusing and muting the colors. This produces a unique glow that is a hallmark of the Summers printmaking technique. Unlike the works of other color field artists or modernists of the time, this new technique made Summers’ extreme simplification and flat color areas anything but hard-edged or coldly impersonal. By the 1960s, Summers had developed a personal way of coloring and printing and was not afraid of hard work, doing the cutting, inking and pulling himself. In 1964, at the age of 38, Summers’ work was exhibited for a second time at the Museum of Modern Art. This time his work was featured in a one-man show and then as one of MOMA’s two-year traveling exhibitions which toured throughout the United States. In subsequent years, Summers’ works would be exhibited and acquired for the permanent collections of multiple museums throughout the United States, Europe and Asia. Summers’ familiarity with landscapes throughout the world is firsthand. As a navigator-bombardier in the Marines in World War II, he toured the South Pacific and Asia. Following college, travel in Europe and subsequent teaching positions, in 1972, after 47 years on the East Coast, Carol Summers moved permanently to Bonny Doon in the Santa Cruz Mountains in Northern California. There met his second wife, Joan Ward Toth, a textile artist who died in 1998; and it was here his second son, Ethan was born. During the years that followed this relocation, Summers’ choice of subject matter became more diverse although it retained the positive, mostly life-affirming quality that had existed from the beginning. Images now included moons, comets, both sunny and starry skies, hearts and flowers, all of which, in one way or another, remained tied to the landscape. In the 1980s, from his home and studio in the Santa Cruz mountains, Summers continued to work as an artist supplementing his income by conducting classes and workshops at universities in California and Oregon as well as throughout the Mid and Southwest. He also traveled extensively during this period hiking and camping, often for weeks at a time, throughout the western United States and Canada. Throughout the decade it was not unusual for Summers to backpack alone or with a fellow artist into mountains or back country for six weeks or more at a time. Not surprisingly, the artwork created during this period rarely departed from images of the land, sea and sky. Summers rendered these landscapes in a more representational style than before, however he always kept them somewhat abstract by mixing geometric shapes with organic shapes, irregular in outline. Some of his most critically acknowledged work was created during this period including First Rain, 1985 and The Rolling Sea, 1989. Summers received an honorary doctorate from his alma mater, Bard College in 1979 and was selected by the United States Information Agency to spend a year conducting painting and printmaking workshops at universities throughout India. Since that original sabbatical, he has returned every year, spending four to eight weeks traveling throughout that country. In the 1990s, interspersed with these journeys to India have been additional treks to the back roads and high country areas of Mexico, Central America, Nepal, China and Japan. Travel to these exotic and faraway places had a profound influence on Summers’ art. Subject matter became more worldly and nonwestern as with From Humla to Dolpo, 1991 or A Former Life of Budha, 1996, for example. Architectural images, such as The Pillars of Hercules, 1990 or The Raja’s Aviary, 1992 became more common. Still life images made a reappearance with Jungle Bouquet in 1997. This was also a period when Summers began using odd-sized paper to further the impact of an image. The 1996 Night, a view of the earth and horizon as it might be seen by an astronaut, is over six feet long and only slightly more than a foot-and-a-half high. From 1999, Revuelta A Vida (Spanish for “Return to Life”) is pie-shaped and covers nearly 18 cubic feet. It was also at this juncture that Summers began to experiment with a somewhat different palette although he retained his love of saturated colors. The 2003 Far Side of Time is a superb example of the new direction taken by this colorist. At the turn of the millennium in 1999, “Carol Summers Woodcuts...

Bernhardt, John (American 1921-1963. QUEENSBRIDGE. Color Woodcut, 1965. Ttiled, signed, dated and annotated "To Smitty" in pencil. 17 3/4 x 28 inches. In very good condition. Framed ...

This woodcut print on paper evokes the peacefulness of looking across a stream towards a thicket of trees in a forest in shades of violet, from lilac to dark eggplant purple. The mon...

Signed lower right, 'Morihiro Sato' (Japanese, born 1943), with artist chop mark, and dated 1985; titled, lower left, in English and Kanji 'Cherry Trees (Dusk)' with number and limitation, '3/55'. Paper dimensions: 24.25 x 35.5 inches A fresh and unfaded woodblock print showing a view of cherry tree boughs heavy with glowing blossoms before a vista of rolling hills with stylized Japanese pine beneath a luminous, golden sunset. Morihiro Sato graduated from Musashino College of Fine Art before studying under the printmaker Joichi Hoshi (1913-1979). Sato’s work focuses on the beauty of nature, particularly that of trees. Through the medium of woodblock with inclusion of metallic pigments, his delicately atmospheric prints evoke a sense of gentle sense of wonder. *With thanks to Ronin Gallery

Woodcut on vélin de cuve à la forme des papeteries d'Arches paper. Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, Calligrammes, poèmes de la paix et de l...

New York City native Oscar Weissbuch (1904-1948), attended the Yale University School of Fine Arts and the Art Students League, NY. He participated in the NYC-WPA printmaking project...

Woodcut in colors on vélin paper. Paper Size: 19 x 18 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Così fan tutte. Dramma giocoso in due atti. Musi...

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....

HAP Grieshaber Untitled Wood block print in two colors Year: 1977 Size: 21 x 14 in Edition: 1,500 Signed in the plate Publisher: HMK Fine Arts, New Yor...

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, ...

Warrington Colescott Your Day in Court, from the portfolio Wisconsin Graphics, 1971 Drypoint, etching, aquatint, woodcut, & soft-ground etching, w roulette, vibrograver, letterpress ...

Hollyhocks Color woodcut, 1953 Signed with the artist's stamp lower left Printer: Niimi Carver: Nagashima An early printing Condition: Excellent Image size: 15 1/2 x 10 3/8 inches "...

Eduardo Chillida, Spanish (1924 - 2002) - Egokarri (Greeting Card for 1969), Year: 1968, Medium: Woodcut on thin wove paper, signed in the plate, Edition: 300 (unnumbered), Image Si...

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...

Où est le Jour (Where is the Day) is a woodcut on paper from Marc Chagall's Poèmes portfolio, published in 1968. The image size is 13 x 10 inches and the art is framed in an ornate, ...

Stephen White - Woman In Black, Year: 1981, Medium: Woodblock on Japon, signed, dated, titled and numbered in pencil, Edition: 2/100, Size: 24.5 x 31.5 in. (62.23 x 80.01 cm)

"The Inside Words" - Textured Lithograph on Paper #3/12 Abstract lithograph by Janet Wheeler (American, 1922-2001). This piece is highly textured, with bold colors and a black background. Several objects have been placed together to resemble a vintage "candlestick" telephone. The bubble next to it could represent the words flowing through the phone lines, or possibly a cross-section of the lines themselves. Titled "The Inside Words" in lower left corner. Numbered "3/12" in the lower center. Signed "Janet P Wheeler...

Salvador Dali (1904-1989) - The Paradise, Canto 27 - The Gloria Patri Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Le...

Salvador Dali (1904-1989) - The Paradise, Canto 32 - Preparation for Final Prayer Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm P...

Salvador Dali (1904-1989) - The Paradise, Canto 27 - The Gloria Patri Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Le...

Salvador Dali (1904-1989) - The Paradise, Canto 30 - To the Empyrean Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les...

Salvador Dali (1904-1989) - The Paradise, Canto 26 - Dante Recovers his Sight Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publi...

Salvador Dali (1904-1989) - The Paradise, Canto 23 - Triumph of Christ and the Virgin Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 c...

Salvador Dali (1904-1989) - The Paradise, Canto 25 - St. James of Hope Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: L...

Salvador Dali (1904-1989) - The Paradise, Canto 22 - The Angel of the Seventh Sphere Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm...

Salvador Dali (1904-1989) - The Paradise, Canto 24 - The Joy of the Blessed Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publish...

Salvador Dali (1904-1989) - The Paradise, Canto 21 - Preparation for Final Prayer Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm P...

Salvador Dali (1904-1989) - The Paradise, Canto 20 - The Sixth Sphere of Jupiter Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Pu...

Salvador Dali (1904-1989) - The Paradise, Canto 15 - Dante's Ecstasy Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les...

Salvador Dali (1904-1989) - The Paradise, Canto 14 - Apparition du Christ Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher...

Salvador Dali (1904-1989) - The Paradise, Canto 17 - The Divine Foreknowledge Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publi...

Salvador Dali (1904-1989) - The Paradise, Canto 16 - The Ancestor's Apparition Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publ...

Salvador Dali (1904-1989) - The Paradise, Canto 12 - L'Eclat des corps glorieux Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Pub...

Salvador Dali (1904-1989) - The Paradise, Canto 11 - Opposition Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les Heur...

Salvador Dali (1904-1989) - The Paradise, Canto 9 - The Sphere of Venus Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: ...

Salvador Dali (1904-1989) - The Paradise, Canto 8 - La plus grande beauté de Béatrice Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 c...

Salvador Dali (1904-1989) - The Paradise, Canto 7 - Le nouveau doute de Dante Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publi...

Salvador Dali (1904-1989) - The Paradise, Canto 6 - The Sphere of Mercury Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher...

Salvador Dali (1904-1989) - The Paradise, Canto 3 - The First Sphere Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les...

Salvador Dali (1904-1989) - The Paradise, Canto 2 - The Angel Woodcut print from 1960. Dimensions of sheet: 33 x 26.2 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Les Heures...