Emmy Lou Packard

WOMAN DRAWING

Frasconi, Antonio. SIX SOUTH AMERICAN FOLK RHYMES ABOUT LOVE. South Norwalk, CT., 1964. Edition of 2000, of which this is one of 100 numbered and with a signed woodcut frontispiece. ...

Barnet, Will. SLEEPING MAN (REST). Szoke 42, Cole 41, Johnson 40. Woodcut, 1937. Edition of 10. Titled "Sleeping Man" at left, and signed at right, both in pencil. This print is usua...

Barnet, Will. AT THE SEASHORE. Szoke 69, Cole 68, Johnson 54. Woodcut printed in black, brown and white, 1939. There was no edition, only a few proofs printed by the artist on Japane...

Wallersteiner, Jehuda Isaraeli 1915-2004). UNTITLED (WOMAN WEAVING). Woodcut in colors, not dated. Edition of 85. 38 x 26 inches.Signed in pencil and numbered. Framed, .

Barnet, Will. CHILD REACHING. Szoke 83, Cole 82, Johnson 65. Woodcut, 1940. Edition of 25. Titled and signed in pencil. 7 1/4 x 11 1/4 inches (image), 8 1/8 x 11 1/2 inches (sheet). ...

Kent, Rockwell, et al. TWELVE PRINTS BY CONTEMPORARY AMERICAN ARTISTS. Edited by Carl Zigrosser (1891-1975) and designed by Bruce Rogers (1870-1957) and printed by Edwin Rudge on watermaked Japan paper. Published by E. Weyhe, NY, 1919. Edition of 115 copies, of which 15 were reserved for the artists and collaborators, and 100 were for sale, this being one of the latter. Folio (19 x 14 inches, 48 x 36 cm.), cloth portfolio with title label, Title page, two pages of text by Zigrosser, Table of Contents and twelve plates of varying sizes, each signed by the artist. Erhard Weyhe (1883-1972) established the Weyhe Galley at 794 Lexington Avenue in New York in 1919, with Zigrosser as the Director. In addition to dealing in art, the gallery published prints, singly and in portfolios, usually of the work of emerging American Modernists. This portfolio, dating from the first year of Weyhe Gallery's existence was the first of these publications. Zigrosser engaged Bruce Rogers to design the portfolio, and also personally sought out the artists, visited their studios and selected the works to be included in "Twelve Prints." Blue Bird was Rockwell Kent's first published print (Burne-Jones 1) The Copyist at the Metropolitan (Morse 148) was being worked on when Zigrosser visited, and its inclusion in the portfolio preceded Sloan's own edition. The full list of artists and the titles and media of their works is as follows: Earl Horter - The Dark Tower, etching Rockwell Kent - Blue-bird, wood engraving William Auerbach-Levy - Tony, etching Kenneth Hayes Miller - The Bather, drypoint Jerome Myers - Springtime, drypoint Walter Pach...

"Grün VI" is a motif from a range of woodcuts showing similar motifs in the same green colour. Baselitz is digesting his memories of the time shortly after the end of World War II in...

"Ada" from 2011 is a Japanese woodblock in thirty-one colors on New Hosho paper. We are offering the number 18/70. 3 Artist's proofs. Ada is Alex Katz' wife and his most important mu...

Elia Shiwoohamba (* 1981 , Windhoek, Namibia ) Harvesting Time • African School • Linoleum cut • Sheet ca. 34.5 x 43 cm (Image is smaller) • Bottom left numbered 8/50 and titled • ...

Hermann Kätelhön (German, * 22. September 1884, Hofgeismar; † 24. November 1940, München) Coal Miners • Woodcut, sheet measures ca. 55 x 40 cm • The sheet is mounted (fixed at the...

Hermann Kätelhön (German, * 22. September 1884 in Hofgeismar; † 24. November 1940 in München) Workers - Lithograph, Sheet ca. 56 x 41 cm - Signed bottom right - The photographs sho...

"Fieldwork," an original woodcut on paper by Roger Herman, is a piece for the true collector. This spectacular woodcut cannot be properly communicated digitally – it is a far more impactful and meaningful experience in person. This work of art would definitely enhance most homes or professional settings, perfect for those who have an affinity for abstracts, Neo-Expressionism, modernist paintings, or postmodern art. This woodcut was printed by Hans-Fuss and published by the Graphic Arts Council at LACMA. Work is outfitted with custom, conservation frame. Art historian Howard Singerman's words from the December 1982 ArtForum Magazine: "...Herman's expressionistic style... with its roots in German Expressionism and the New York School, is previously painted. His mean colors, thick pigment, and quick strokes are not a direct record of emotion and activity, they are not painting outside language, but signs for that painting, for an emotion and an activity that are no longer available. The expressionist act is recast as romantic aspiration; in his inscription, Herman evokes painting's past and admits his need for its aura... ...Herman's distance even undermines the emblematic immediacy of his expressionism, which he uses to attain more distance still. Unlike the flattened, aggressive figures that push to, and threaten to push through, the surfaces of most new painting, Herman's figures are situated in middle ground and buried beneath the paint..." Artist: ROGER HERMAN (1947-) Title: FIELDWORK Medium & Surface: ORIGINAL WOODCUT ON PAPER (framed) Signed/Numbered: HAND-SIGNED, NUMBERED, AND TITLED BY ARTIST Number: 36 of 75 Year Created: 1984 Country of Creation: UNITED STATES Image Area Dimensions: 24 x 48 INCHES Paper Dimensions: 38 x 62 INCHES Frame Dimensions:* 41.25 x 65.25 x 1 INCHES *This work of art is being sold framed. If you would like to change the frame to better match your style or environment, please contact us for Custom Archival Framing options. Additional Info: HIGHLY COLLECTIBLE WORK BY ROGER HERMAN – PRINTED BY HANS-FUSS WITH BLIND STAMP LOWER RIGHT. PUBLISHED BY THE GRAPHIC ARTS COUNCIL AT LACMA. FEATURES CUSTOM CONSERVATION FRAME. Artist Info/Bio: ARTIST BIOGRAPHY DOCUMENT IS INCLUDED Documentation: CERTIFICATE OF AUTHENTICITY IS INCLUDED About the Artist: Roger Herman, a German painter and ceramic artist, has become well known for the broad range of styles encompassed within his work across multiple mediums. Roger Herman was born in Germany in 1947, where he began his studies at the Kunstakademie in Karlsruhe. In 1976, he was offered a fellowship from the German Academic Exchange Service (DAAD), which took him across the world to San Francisco. It was here, in California, that his career began to flourish. He started by creating paintings of phenomenal proportion, soon christened as the West Coast parallel of the 80s Neo-expressionist movement. It was highly referential work, drawing on his knowledge of art history, as well as his famed sense of humor. With loose, facile brushwork, his art is reminiscent of the figurative German painters who emerged in the 1970s—like Markus Lüpertz (who taught at the Kunstakademie), Rainer Fetting...