Woodcut Abstract Prints

MARIA STELMASZCZYK (born in 1983) Studies at the Faculty of Graphic Arts and Painting Laboratory of Woodcut Techniques and Artistic Book at the Academy of Fine Arts Władysław Strzemi...

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

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

Colorful abstract landscape woodcut print by modern artist Carol Summers. The work features a color blocked depiction of a volcano with a rainbow. Signed, titled, and editioned withi...

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

The minimalist's dream, the large-scale iconic contemporary pop art Horizontal 'Spots' with multi-color dots by Damien Hirst is one of fifty-five limited edition woodcut prints on So...

This contemporary woodcut print on paper evokes the peacefulness of ocean waves depicted in bright, cerulean blue and vibrant cobalt. The woodcut print brings to mind the tradition o...

This piece titled "J.P.'s Trip" is an original piece by Alexis Nutini and is made from a woodcut and and found object stencil monoprint mounted on panel ...

"Alberto Castro Leñero (Mexico, 1951) 'Untitled III', 2020 woodcut on paper Velin Arches 300 g. 62.6 x 31 in. (159 x 78.5 cm.) Edition of 30 ID: ...

Artist: Damien Hirst Title: Norcamphor from “40 Woodcut Spots" Year: 2011 Medium: Woodcut on 410gsm Somerset White Paper Edition: 43/55; signed (recto) and numbered (verso) in penci...

Leonardo Gotleyb (Argentina, 1958) 'Ave fenix', 2004 woodcut on paper Rives BFK 300 g. 27.6 x 39 in. (70 x 99 cm.) Edition of 15 ID: GOT-313 Hand-signed by author

Maria Stelmaszczyk is a Polish artist born in 1983. PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery o...

Motif (Abstract) in orange, blue and gold abstract. From the small edition of 10. from 1982. I am not sure if this is a woodcut or woodblock print or a silkscreen screenprint or some combination. Viola Burley Leak, American (1944 - ) Viola Leak was born in Nashville, Tennessee, she received a B.A. in Art from Fisk University, a B.F.A. in Fashion Design from Pratt Institute, Brooklyn, an M.A. from Hunter College, NY and an M.F.A. in Media from Howard University, Washington, DC. Leak was an art consultant for both the New York State Board of Education and the Metropolitan Museum of Art's Print Department, in addition to working for the Experimental Gallery of Art at the Smithsonian Institute. Her mixed media work often references religious motifs and those of her African-American experience and heritage. She is a multimedia artist, her works include printmaking, textile designing, soft sculpture, appliqué tapestries, doll making, and multi-media. Viola has studied with many renowned artists such as Aaron Douglas, Romare Bearden, Robert Blackburn, and Charles White. Her works can be found in the collections of World Federation of United Nations, New York State Office Building, Manufacturers of Hanover Trust Company, Atlanta Life Insurance Company and many more organizations. Viola's exhibition experience is extensive - more than 100 showings over a decade, national and international. Her quilts exude a miraculous and magical presence. They have traveled in two international shows and three national quilt projects in the past three years. A proud moment for her was being featured in the December 20, 2000 of the Smithsonian magazine; the article praised her mural "Afro Dance Scan" as one of the outstanding artworks in the "When the Spirit Moves: African American Dance...

Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United ...

"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...

Damien Hirst’s Dog By Mychael Barratt [Mychael Barratt] limited_edition Woodcut Image size: H:50 cm x W:51 cm Complete Size of Unframed Work: H:63...

MARIA STELMASZCZYK (born in 1983) Studies at the Faculty of Graphic Arts and Painting Laboratory of Woodcut Techniques and Artistic Book at the Academy of Fine Arts Władysław Strzemi...

MARIA STELMASZCZYK (born in 1983) Studies at the Faculty of Graphic Arts and Painting Laboratory of Woodcut Techniques and Artistic Book at the Academy of Fine Arts Władysław Strzemi...

"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...

"India" is a woodcut and monotype signed by Carol Summers. Here, Summer's abstract language for landscape imagery is taken to its most extreme: The image offers a view of a highly stylized waterfall, with red water falling down behind green foliage below. A hint of light blue at the lower left suggests a continuation of the water's flow. Above, purples and yellows mist upward from the power of the water. 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. Summers' signature can be found in pencil at the bottom of the rightmost blue form, with the title and edition at the bottom of the leftmost blue form. A copy of this print can be found in the collection of the Fine Arts Museums of San Francisco. 37.25 x 24.88 inches, artwork 48.5 x 35.5 inches, frame Numbered 44 from the edition of 75 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...

Night Sun is an original artwork realized by Laura D'Andrea. Xilograph on canvas. Signed by the artist on the lower right margin. Perfect conditions. The artwork represents a circular shape surrounded by an abstract composition. The technique is very unique: xilograph on canvas; the artist uses only two colors for this piece: black and gold. In the center, there is a black sun. The composition instills a sense of serenity, but also of mystery. The artwork is reminiscent of the Mediterranean culture. Laura D'Andrea travelled frequently through the Mediterranean lands: her artworks, indeed, express a great sensation of freedom and a focused interest in oriental cultures. Laura D’Andrea is an Italian artist and engraver. She was born in Sicily where she currently lives and works. She studied printing and xylography at the Academy of Fine Arts of Rome and Urbino and Philosophy and Literature at the University of Grenoble. His first exhibition has been “La mia Sicilia” (My Sicily) in 1969 at Galleria Flaccovio in Palermo where, a few years later, she exhibited with “Hippies a Londra” (Hippies in London). In the 1980’s, she moved to Il Cairo in Egypt, where she studied Arabic calligraphy and she had the possibility to realize a series of graphic works that has been exhibited at the Egypt Academy of Rome. During that years, she started an artistic research through the historical Sicilian Baroque art and culture. Between 1986 and 1988, she exhibited with the solo show “L’Immaginario nel Barocco” (The Baroque Culture) at the Galleria Artivisive in Rome, at the Museum and Library of Ursino and Recupero in Sicily and at the European Parliament in Strasbourgh. In 2002 she exhibited with “Memoria Greca nel Mediterraneo” (Greek memory in the Mediterranean Sea) in Sicily. In 2007, she exhibited in Rome and in Saudi Arabia. Between 2011 and 2015, she started to explore the world of jazz music that will become an important subject of her future artworks; during that years she exhibited her works in England and in Belgium. Her artworks are a leap in the Mediterranean Sea, between Sicilian and Arab culture; Laura D’Andrea is a lover of the jazz music, through her canvases we can hear the sound of ancient and far places and people. Other important details of her work the calligraphy and the Archeoscrittura. Archeoscrittura is a trend that involves artists exploring into their genetic memory and finding signs of archaic scripture. Laura D'Andrea finds her inspiration in the depths of her personal memory, and in the study and influence of the signs and symbols of the Archaic writing in the Mediterranean. Her works can be found in the Museum of Modern Art Pecci in Florence, in the Museum of woodcut Carpi in Modena, in the Museum of Modern Art Maga of Varese, in the Museum of Modern Art of Valencia in Spain, and in the Museum of Art Mart of Trento and Rovereto in the donation of Mirella Bentivoglio.

Bernardo Navarro Tomas (Cuba, 1977) 'Untitled (circulos plateados)', 2021 woodcut, silkscreen on paper Guarro Biblos 250g. 27.8 x 21.5 in. (70.5 x 54.5 cm.) Edition of 20 ID: NAA-113...

Sergio Hernández (Mexico, 1957) 'Lluvia de estrellas II', 2011 woodcut on paper Guarro biblos 270 g. 30 x 44.1 in. (76 x 112 cm.) ID: HER-156

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 ...

Gabriel Macotela (Mexico, 1954) 'Untitled', 2020 woodcut on paper Guarro Super Alpha 250g. 30 x 44.1 in. (76 x 112 cm.) Edition of 20 ID: MAG-103 Unframed

Hans Ticha, born in 1940 in what was then Czechoslovakia, is a renowned German artist, particularly celebrated for his exceptional contributions to contemporary art. He gained promin...

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

Sergio Hernández (Mexico, 1957) 'Cielo Estrellado', 2011 woodcut on paper Velin Arches 300 g. 46.5 x 82.7 in. (118 x 210 cm.) Edition of 10 Unframed

Sergio Hernández (Mexico, 1957) 'Untitled', 2011 woodcut on paper Velin Arches 300 g. 29.6 x 41.4 in. (75 x 105 cm.) Edition of 15 ID: HER-284 Unframed

Touched by the influence of Andy Warhol, champion of a young Jean-Michel Basquiat, Rene Ricard served as enfant terrible of the 1980s New York art scene. In this bright yellow, red, ...

Sergio Hernández (Mexico, 1957) 'La Maja', 2017 woodcut on paper Velin Arches 400 g. 46.9 x 82.7 in. (119 x 210 cm.) Edition of 30 Series # available:...

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

Sergio Hernández (Mexico, 1957) 'Untitled', 2011 woodcut on paper BAT(Bon A Tirer) 30 x 44.1 in. (76 x 112 cm.) ID: HER-158-1

"Carlos Garcia de la Nuez (Cuba, 1959) 'La Isla Infinita', 2014 P/A (Artist Proof) woodcut and collagraph on paper Velin Arches 300 g. 42.2 x 70.9 in. (107 x 180 cm.) Edition of 20 I...

Pioneering female illustrator Gwenda Morgan creates an exuberantly complex image of a squad of broom-riding - pointed-hatted witches with black cats in tow. They fly through an inky black moonlit sky and are witnessed by only a rooftop owl. With the simple means of black and white, Morgan has rendered a highly charged composition that pluses with electricity. The whole image is on the cusp of being abstract while being representational. It is brilliantly designed with great attention to detail and is evocative of a sorcerer's malignant powers. Unframed. not signed Printed from the original block as part of the suite of 8 prints that accompanied the limited edition book Diary of a Land Girl, Whittington Press, 2000. The suite of prints was included with the first 50 copies of the book, and a further 8 suites were printed, from which this print comes. Gwenda Morgan (1 February 1908 – 1991) was a British wood engraver. She lived in the town of Petworth in West Sussex. Early life Morgan was born in Petworth, her father having moved there to work at the ironmongers, Austen & Co, of which he later became proprietor. He was the son of a Welsh-born military farrier. Education Following school in Petworth and at Brighton and Hove High School, Morgan, studied at Goldsmiths' College of Art in London from 1926. From 1930 she attended the Grosvenor School of Modern Art in Pimlico where she was taught and strongly influenced by the principal, Iain Macnab. The Grosvenor School was a progressive art school and the championing of wood engraving and linocuts fitted with its democratic approach to the arts. Works Morgan was commissioned to illustrate a number of books published by private presses. For the Samson Press she produced the frontispiece for Duke Hamilton...

This piece titled "Fragments" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 19"w. Born in Mexico City, A...

"Boris Viskin (Mexico, 1960) 'Untitled 1', 2015 woodcut on paper Velin Arches 300 g. 13.2 x 52.8 in. (33.5 x 134 cm.) Edition of 30 ID: VIS-101"

Skadi Engeln, a Berlin- and France-based artist, studied sculpture at FH Ottersberg with Robert van de Laar and painting with Michael Kohr and Hermanus Westendorp. Her work has been exhibited in numerous solo and group shows in cities like Berlin, Düsseldorf, Paris, New York, and more, and is part of international collections. Engeln explores landscape as a dynamic, ever-changing entity dissolving into light, water, and weather, only to reassemble itself. Like painting, landscapes blur the line between the visible and the hidden, revealing deeper truths in their transitions. The horizon plays a central role in her work, both separating and connecting what lies above and below, the seen and the concealed. Rather than decoding these layers, she preserves their mystery and beauty. Since 2001, she has focused on abstract landscape painting. Her recent works depict landscapes veiled by lines, stripes, and distortions, creating a sense of distance, like reflections in a train window...

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 ...

This piece titled "Viaje" is an original piece by Alexis Nutini and is made from a woodcut and found found object stencil monoprint mounted on panel. This piece measures 14.5"h x 9.5...

This piece titled "Blox" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 9.5"w and ships unframed. Born in...

A contemporary woodcut print of a waterfall in a forest in silver ink. The monotype brings to mind the tradition of Japanese printing while being distinctly contemporary. Edition 1...

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 ...

This square woodcut print on paper evokes the peacefulness of looking upwards through a forest canopy in a symmetrical pattern composed of the silhouettes of trees in dark violet blu...

This piece titled "Waves" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 9.5"w. As a woodcut printmaker, ...

Engraving with wood carving matrix on paper 310 gr/m2, paper-work size 130cm x 49cm. Excellent condition, no defects. Grafica Lombardi guarantee stamp. Tommaso Cascella was born in...

This piece titled "Lisa's Trip" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 14.5"h x 19"w. Born in Mexico City,...

This piece titled "Oldies Swing" is an original piece by Alexis Nutini and is made from a woodcut and and found object stencil monoprint mounted on panel. This piece measures 19"h x ...

This piece titled "Sunset One" is an original piece by Alexis Nutini and is made from a woodcut monoprint mounted on panel. This piece measures 19"h x 14.5"w. Born in Mexico City, ...

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

This piece titled "Philly Street III" is an original piece by Alexis Nutini and is made from a woodcut and found object stencil monoprint. This piece mea...

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

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

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

This piece titled "Streets Of" is an original piece by Alexis Nutini and is made from woodcut and and found object stencil monoprint mounted on panel . This piece measures 19"h x 14....

This piece titled "Philly Street IX" is an original piece by Alexis Nutini and is made from a woodcut and found object stencil monoprint. This piece meas...

This piece titled "Philly Street V" is an original piece by Alexis Nutini and is made from a woodcut and found object stencil monoprint. This piece measures 40"h x 29.5"w and ships u...

This piece titled "Huipil III" is an original piece by Alexis Nutini and is made from a reductive woodcut print. This piece measure 46"h x 36"w frame...

This piece titled "Philly Street VII" is an original piece by Alexis Nutini and is made from a woodcut and found object monoprint. This piece measures 40"h x 29.5"w and ships unframe...

Signed, titled and numbered by the artist. Created as part of a group portfolio by members of the California Society of Printmakers, based on the works of Shakespeare. Pat was an artist, printmaker and teacher throughout her life. She studied with Akira Kurosaki in Berkeley, Antonio Frasconi in France and Unchi Hiratsuka in Japan. Her prints reflect a lifetime of experimentation in printmaking first nurtured in Japan by contact with the artists of the Sosaku Hanga...