John DePol

Magic Hour, Autumn

c. 1981

John DePol, 'Endless Day', chiaroscuro wood engraving, 1979, edition 160 in 1983. Signed, dated, and titled in pencil. Signed in the block, lower right. A superb impression, on off-w...

John DePol, 'Domjulien, Haute Vosges, France', chiaroscuro wood engraving, 1971, edition 140. Signed, dated, titled and numbered '15/140' in pencil. Signed in the block, lower right....

John DePol, 'Roadside, Collonges-La Rouge', chiaroscuro wood engraving, 1980, edition 160 in 1983. Signed, dated, and titled in pencil. Signed in the block, l...

John DePol, 'Reflections', chiaroscuro wood engraving, 1979, edition 160 in 1983. Signed, dated and titled in pencil. Signed in the block, lower right. A superb impression, on cream ...

Portrait of Anger - Multilayer Woodblock in Ink on Paper Bold and saturated woodblock print of a screaming man by Michael Dow (American, 20th Century). The man is centered in this m...

In the 1950s woodcuts started to get bigger and bigger as they competed with paintings for a space on the wall. This California print by Joseph Zirke...

Self Portrait-L.B. AET 56 Color woodcut printed in black and green, 1978 Signed in pencil lower right (see photo) Edition: 150 (97/150) Condition: Excellent Image: 32 x 22” Sheet: 35...

The print 'Jones Island' is something of a self portrait. In the image, an artist stands before and easel, depicting the docks and buildings on the coast. The title indicates that this is Jones Island in Milwaukee, the peninsula along Lake Michigan that today is home to largely industrial buildings. The buildings and figures in the print suggest that this might be a view of the last of the Kashubian or German immigrant settlements on the peninsula before they were evicted in the 1940s to make way for the development of the harbor. The artist in the image thus acts as a documentarian of these peoples. The careful line-work of the woodblock engraving adds a sense of expressionism to the scene, leaving the figures and buildings looking distraught and dirty, though the image nonetheless falls into the Social Realist category that dominated American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints – one for each week of the year. 6 x 5 inches, image 10 x 7.13 inches, sheet 13.43 x 12.43 inches, frame Signed "GS" in the print block,upper left Entitled "Jones Island" lower left (covered by matting) Inscribed "Wood Engraving" lower center (covered by matting) Artist name "Gerrit V. Sinclair" lower right (covered by matting) Framed to conservation standards using 100 percent rag matting and museum glass, all housed in a silver gilded moulding. Gerrit Sinclair studied at the Art Institute of Chicago from 1910 - 1915, under Vanderpoel, Norton, and Walcott. In World War I, he served in the Army Ambulance Corps and later recorded his experiences in a series of oil paintings. He taught in Minneapolis before arriving in Milwaukee in 1920 to become a member of the original faculty of the Layton School of Art. He was also a member of the Wisconsin Painters & Sculptors. Sinclair's paintings and drawings were executed in a lyrical, representational style, usually expressing a mood rather than a narrative. His paintings reveal a great sensitivity for color and atmosphere. His subject matter focused on cityscapes, industrial valleys, and working-class neighborhoods, captured from eye-level. A decade before the popularity of Regionalism, Sinclair's strong interest in the community was reflected not only in his paintings, but also in his encouragement to students to return to their communities as artists and teachers. Joseph Friebert...